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The transmission of values through social studies education remains a central subject of interest. The search for alternative resources to foster and sustain this transmission process has recently intensified. 'Museums', recognized as alternative spaces within out-of-school learning contexts in social studies, are increasingly acknowledged as crucial in facilitating value transmission. This research seeks to elucidate the role of museums in this process, primarily through the perspectives of pre-service social studies teachers. The study employed qualitative research methods and was constructed within a case study design framework. Data collection relied on focus group discussions with the pre-sercive teachers, with the subsequent content analysis used for data interpretation and explanation. Through dialogues with the participants, it became apparent that the transmission of values in social studies, a fundamental course for life learning, was a predominant concern. Out-of-school learning experiences are deeply integrated with social studies due to their interdisciplinary and multifaceted nature. In light of this, the participants’ perspectives and recommendations concerning the role of 'museums' as alternative venues for value transmission within the scope of social studies were predominantly positive.
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The issues about protecting and preserving traditional knowledge have long been an international debate. International archival communities welcomed this issue by bringing up the role of archives in order to protect traditional knowledge. Archival communities in countries such as Australia, Canada and New Zealand, paid special attention to the issue of traditional knowledge. It is the implications of their cultural context as the countries inhabited by indigenous groups. In contrast, issues about the archiving of traditional knowledge in Indonesia have not been popular. Even though Indonesia is a country inhabited by approximately 1,340 indigenous groups, the archival community in Indonesia does not intensively deal with this issue. The involvement of archival institutions in Indonesia on the issue of traditional knowledge is still limited. Actually, the objectives of organizing the archives in Indonesia is to ensure the safety of national assets which are in the form of culture, but until now there has been no comprehensive program related to it. This condition is much different with archival institutions, for example, in Canada, Australia and New Zealand. They take a very active role in protecting and preserving traditional knowledge through the method of archiving. Using qualitative methods through literature review and interview, this paper argues that in order to play a role in the protection and preservation of traditional knowledge, archival institutions in Indonesia cannot be optimized without developing community archives in each cultural community throughout Indonesia.
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From the Canadian “total archives” movement of the 1980s, to more recent human rights and reconciliation community-driven archives in Australia, South Africa, and Cambodia, community-driven archives offer a powerful counterbalance to the representational inequality that sometimes characterizes the interactions between institutional archives and socially stigmatized or marginalized groups. The power disparity between a community collective seeking to preserve its materials and a partner archival institution points to the limited options available to the community. Some communities might be obliged to accept whatever curatorial terms the institution extends, with the only (impractical) alternative being the creation of its own unsupported archive. At the same time, traditional archival institutions that support community-driven archives face many ethical and practical challenges in that role. Beyond the duty to manage expectations, issues of patrimony, creator rights, and the local disposition of material all attach to the post-custodial paradigm.The Southern Historical Collection (SHC), in UNC’s Wilson Library Special Collections, is currently engaged in at least four community-driven projects (The Appalachian Student Health Coalition, The Eastern Kentucky African American Miners Project, The Historic Black Towns and Settlements Alliance, and The San Antonio African American Community Archive and Museum). The projects’ objectives and concerns are as various as the creator communities that fostered them. In this paper, I consider the limits of parallels between community gardens and community archives. Drawing from the work of Douglas Biff Hollingsworth, I argue for a common lexicon describing community archives, according to various models of distributed curatorial responsibility, as a starting point for imagining canons of ethical responsibility. We suggest a new vocabulary for appraisal categories (existential value, cathartic value, accountability value, reconciliatory value, and communal value), and how such language supports a professional shift from an outcome-driven, commodity based tradition. Finally, I will describe some practical experiences regarding community rights and the role of community liaisons and charrettes in orchestrating community-driven archival projects.
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ICA’s “Records in Contexts” (RiC) and the Finnish Conceptual Model for Archival Description (FCM) have many similarities. Despite of some differences, the models are not profoundly dissimilar when it comes to describing the context: besides records, they both include entities representing agents and functions of agents. What makes the models different is the general approach: in the RiC description is retrospective and recordscentric whereas the FCM sees the description as a continuous activity related process that starts with the record creation. Another main difference is that the goal of the RiC is to integrate ICA’s existing archival standards while the FCM seeks a common interface with the description in libraries and museums. Both models suggest that the description of mandates and business activities is in the core of archival description. Description of mandates and business activities is missing from the models of libraries and museums and is unique for the archives.
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This year the National History Museum of Romania celebrates its 50th Anniversary and the current study is a tribute to half a century of cultural activity of the main history museum of Romania. The aim of this small article is to tell a part of the story of the cultural institution through the presentation of a few medals, plaques and diplomas, dedicated to and/or awarded to the museum which are found in the collection of the Coin Room. Through the thirteen objects described in the article we will take a journey through the 50 year history of an emblematic museum of Bucharest and of Romania, which was opened half a century ago, in 1972.
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This article aims to increase the visibility of the projects implemented with the help of the funding received through the programs of the European Union - Erasmus+ and the European Solidarity Corps (ESC), by the National History Museum of Romania, but also by other museums in Romania, contributing to the increase the visibility of these two programs. Viable funding opportunities (axes) for museums are also presented, offering views on the advantages and disadvantages of accessing these types of grants. The article includes a brief history and general data on the two funding programs, as well as a review of the projects developed by Romanian museums under these programs.
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In the article the author analyses a set of incunabula from the collection of the Raczyński Library in Poznań, characterised by a uniformity of illuminated initials. Formal features of the initials point to the so-called Koberger type developed by illuminators collaborating with the famous Nuremberg printer Anton Koberger. The Koberger initials, which have been studied by very few German scholars, are characterised by stems filled with colourful acanthus leaves or gold plates. The letters are presented on an ornamental fleuronné or golden background. They are usually surrounded by characteristic frames made up of alternating — usually green and red — sections. The initials from the Poznań books, which display such features, are divided in the article into three groups and compared with illuminations from Koberger books from other European libraries. A formal and stylistic comparison makes it possible to date the illumination in the Poznań books fairly precisely, and to attribute it hypothetically to Koberger’s workshop or illuminators imitating the Koberger style.
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This study presents the evolution of digital museums, starting with the emergence of the World Wide Web, an attempt to break with tradition and exist only in an online environment. This was followed by the emergence of Web 2.0 and the involvement of users in the life of collections, and finally the complementarity of analogue and digital content. In their work, the authors will necessarily address the question of the pedagogy of the digital museum and how the museum as a symbol of power has been transformed. The basic claim is that the concept of the digital museum is thus no longer independent of the material world and that the material world is also supplemented by digital content or information levels. This evolutionary step has given the museum institution new functions.
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Artykuł ma na celu przedstawienie relacji zachodzących pomiędzy ruchem Occupy Museums a krytykowanymi przezeń instytucjami kultury na przestrzeni lat 2011-2012 – Museum of Modern Art w Nowym Jorku oraz Tate Modern w Londynie, w kontekście praktyk przejmowania ideowych i artystycznych osiągnięć ruchu podczas Biennale w Berlinie w 2012 roku i Documenta 13 czy wciągnięcia do kolekcji zbioru plakatów związanych z Occupy Wall Street, a także postrzegania roli sztuki i artystów współczesnych przez samych uczestników ruchu Occupy na przykładzie krytyki Damiena Hirsta, skontrastowanej z dobrze przyjętą w londyńskim obozowisku instalacją przypisywaną Banksy’emu.
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This text presents the findings of a contextual analysis of Artapanos’ writing On the Jews. The peculiarity of this Alexandrian writer lies in his vivid depiction of the image of the Diaspora, which is unprecedented elsewhere. Artapanos tries to convince his reader of the closeness of Jewish culture to both the Egyptian heritage and Hellenistic culture. His Moses, shaped in the fashion of a hero, is shown as the greatest benefactor of mankind and, as such, mainly as the hero of Egypt. Of the various possible interpretations of the phenomenon of Artapanos’ work, this study points to a plausible thesis of a syncretic orientation of some part of the Alexandrian Diaspora. This would include the Jews, who lived in the conviction of being faithful to their tradition, while at the same time absorbing Hellenistic culture and relating with kindness to the Egyptians.
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The aim of the article is to present the efforts made over the last hundred years to maintain the knowledge of the native tongue among Karaims in Poland and Lithuania. After World War I, the awareness of the importance of the vernacular language for the preservation of cultural heritage increased, but the knowledge of the Karaim has been systematically declining. In the last 30 years, attempts to revitalize the mother tongue have intensified. Nevertheless, with the rapidly declining Karaim populations in Poland and Lithuania, the level of language proficiency is dropping even faster. The North-Western dialect is the only one still spoken today. In recent years, field recordings are being made to preserve the sound of the Karaim, which is listed on the UNESCO Atlas of the World’s Languages in Danger. Currently, out of about 300 people living in Poland and Lithuania, only ten percent can speak their ancestors’ tongue.
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The objective of the paper is to shed light on the importance of the digital presentation of religious heritage and present the multimedia documentation of a chapel developed within the “Oltári Múlt” (“Sacred Past”, in Hungarian) project. It aims to preserve the values of medieval churches through video documentation. Walls and stones come alive for contemporary visitors, connecting the present with the past. The paper showcases an example of a chapel and how video documentation, virtual tours, and other ICT tools are applied in the project to create a digital narrative with a creative vision and mastermind approach.
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The paper presents the work in progress towards the enhancement of features and increasing the comfort of usability of the multimedia guide for the War Museum of Niš under the Open Sky. Previously, this electronic guide was realized as a mobile application that informs visitors about the persons and events to which monuments in the city of Niš are dedicated. Visitors could access information about the monuments through a list of monuments or by using an interactive map with the location of the monuments marked. Presently, we are introducing a new module that will improve user experience through the usage of location-based services. The visitor's location is used by the Geolocation module to show the information about the nearby monument. The monument has to be inside of a predefined radius (e.g. 2 m or more) in order to activate the projection of the information about the monument.
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Contribution provides a picture of the current museum practice in the exhibition of historical tiles (from stoves). Tiles, which are the basic building element of a tiled stove, were not created as an autonomous artwork, but rather as a technical element with decoration. Today, finds of tiles are exhibited as separate artistically decorated objects in museums. Their decorative component makes them interesting from an art-historical, iconological, and historical point of view. However, when they are not part of a suitable exhibition, their context disappears. Historic tiles are often exhibited together with archaeological finds (even the decorated ones), with a minimal amount of information, and their potential from an art-historical point of view remains unused. They have a great potential in terms of the possibility of connecting art-historical and historical contexts.
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One of the most significant global trends today is the use of three-dimensional technologies in various segments. 3D models can be created by using special software or by digitizing a real-world object using a 3D scanner. The technologies capable of converting analog objects into digital 3D are also a part of the sphere of memory institutions, where we increasingly come across 3D models of selected historical collections often created under the auspices of specialized workplaces or universities. The process of digitization itself, particularly 3D scanning, can harbour many pitfalls. Creating a virtual museum collection is not an easy task, as there are many ways to present 3D models since each of them can be used in different ways. The objective of the article is to describe the possibilities and the process of creating a 3D virtual collection of smaller historical objects, and its presentation by means of selected online tools or web services designed for the purpose. The article also focuses on the subsequent use of the models in the creation of a virtual web exhibition. Another objective of the article is to outline the basic issues of 3D scanning of selected smaller historical objects.
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The study presents pages from the history of the Museum of History and Ethnography from Bălți municipality and the winding path in identifying the premises for the plenary institutional activity. Museum of History and Ethnography in Bălți is a key institution in the cultural life of the municipality, for more than six decades. The authors elucidate the context in which museum started its activity, as well as the challenges of conceptualization in the collection and valorization of artifacts from the museum’s patrimony. At the beginning (1961), the museum had its headquarters in the Episcopal Cathedral „Sfinţii Impăraţi Constantin şi Elena” an architectural jewel in neo-Romanian style, built in the interwar period by the efforts of the bishop Visarion Puiu.
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This study aims at analysing the function that the Greek Tetraevangelion from the Museum of Oltenia in Craiova initially had, in order to understand its use and to establish its original destination. To this aim, we evaluated the function that a Tetraevangelion had as compared to a Gospel in the context of the liturgical life of the Byzantine world, with the aim to create the framework for better understanding how the manuscripts could be used. Moreover, the research of the critical apparatus, hymns or notes with liturgical character from the initial period gives us the opportunity to have a relevant image of how the Byzantines related to the biblical text from an exegetical point of view and capitalized on it in their liturgical life.
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Review of: - Andrej Vujnović, Muzej Srba u Hrvatskoj. Studija slučaja. Prosvjeta, Zagreb, 2021.
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