“Bones in the sandbox”: museum as “world picture” vs. museum as “lifeworld”

Author(s): Vladimir Plokhotnyuk,Irina Przhilenskaya,Vladimir Przhilenskiy / Language(s): English Issue: 4/2020

This article deals with the issues of museum communication and interpretation of museum exhibits in a philosophical and cultural context. As an example, it considers two different ways of presenting palaeontological material – specifically, the skeleton of a southern mammoth – revealing differences in how the semantic content is interpreted. The first method – the traditional approach of assembling the skeleton – gives a “world picture” of a certain era, as it appears to a palaeontologist. The second approach presents the skeleton in a “sandbox”, representing how it was found during excavations, such that viewers deal not with the interpreted “ready-made” material, but with the contemporary experienced reality – the “life-world”, the “raw” source material. This allows visitors to realize their own creative potential and to recreate the nature of the Pleistocene epoch in their imagination. Thus, through the mutual correlation of the roles exhibition’s author and of the visitor as an interpreter, the semantic field of museum communication expands. In Heidegger’s conception, a “picture of the world” hides the world rather than explains it, while the “life world” represents it as it is.

“Vendi i dëshmisë dhe kujtesës” në Shkodër si një formë e re kulturore e përkujtimit

Author(s): Ermela Broci / Language(s): Albanian Issue: 2/2019

The museum of memory contours a new shape of memory and a new form of the museums in Albania. Although, in Southern Europe, this kind of museum is widely spread, there are very few museums in Albania dedicated to the Communist period. This article focuses on why and how the societies agree with the past and the violence through the creation of the museum of memory as a new form of the memorial museum. It is investigated not only the features of communism through the present museum but thoroughly the overall practices of the process of memory within a museum. The Museum of Memory, in Shkodra, northern Albania, is taken as a case study. It is investigated its alterations through years starting as a cultural and education center during 1930-1946, later in 1946 - 1992 used as a political prison and then transformed into a memory museum (2014) to commemorate the crimes of communism and make them known to the public.

„...keď sa nevydáme, čepce popredáme“? Na margo výstavy “Krása pre ženu stvorená”

Author(s): Marta Botíková / Language(s): Slovak Issue: 2/2019

„...keď sa nevydáme, čepce popredáme“? Na margo výstavy Krása pre ženu stvorená, Slovenské národné múzeum, sídelná budova, Vajanského nábrežie, Bratislava, 22. 3. 2019 – 29. 9. 2019 Ústredné miestnosti sídelnej budovy Slovenského národného múzea na Vajanského nábreží sú miestom pre reprezentatívne výstavy o Slovensku a jeho kultúre. Zažili sme tam mnohé veľmi pekné, prehľadné a vkusné, inštruktívne aj emotívne prezentácie z oblasti dejín, umenia aj ľudovej kultúry, novšie často s prepojením na premeny kultúrnych prvkov a ich miesto a uplatnenie v súčasnom živote. Z nedávnych spomeňme napríklad ženský ľudový odev z regiónov Slovenska prepojený s módnou tvorbou a výrobou modrotlače.

„Cartea de aur”- act de identitate culturală a Bibliotecii Judeţene Mureş

Istoria bibliotecilor

Author(s): Monica Avram / Language(s): Romanian Issue: 1/2002

The Golden Book is one of the most important documents that confirms the well-done activity in a cultural institution, such as a library.The Golden Book of Mureş County Library collected, during almost nine decades of existence, the signatures of famous personalities from different branches of culture, science, politics, music etc. At the beginning, The Golden Book served the entire Cultural Palace at the town, which was built in 1913, and that contained: a library, a historical and archaeological museum, a music school etc.During decades, the messages became more and more consistent and referred to the cultural activities that took place in the library, to the various types of books that could be find there, to the devotedness of all the librarians concerning their work. The testimonies ofered by The Golden Book are completed by ancient newspapers, which give us information about the presence in our town of some very important persons, such as: the royal family (1922, 1924, 1926, 1931), Nicolae Iorga (1922), Vasile Pârvan (1925), George Enescu (seven concerts between 1923-1938), Octavian Goga (1932), Dan Simionescu (1956), Mircea Dinescu, Antonie Plămădeală, the metropolitan bishop of Transylvania (1991), Ştefan Pascu (1993) etc.

„Dusza moja czuje się tutaj jak w domu”. Poszukiwania badawcze prowadzone przez Muzeum Miejskie w Wadowicach

Author(s): Joanna Pytlowska-Bajak / Language(s): Polish Issue: 22/2019

Report from the research project carried out by the Town Museum in Wadowice in 2017-2019 as part of the „Folk and traditional culture” program with the financial support of the Ministry of Culture and National Heritage.

„Dziękujemy, że Polska istnieje”. Dzieci piszą do powstańców warszawskich

Author(s): Sara Herczyńska / Language(s): Polish Issue: 4/2020

The campaign “BohaterON” co-organised by the Warsaw Rising Museum hinges on sending postcards to insurgents of the Warsaw Uprising. Herczyńska examines the assumptions of this project, its promotion and realisation, as well as a collection of 187 postcards written as part of the campaign, in the context of the Museum’s work. She draws on the concepts of the nikiform and scriptive thing.

„For the return of museum slippers”, i.e. an indication of selected possibilities for museums to respond to trends in changes in the natural and cultural environment

Author(s): Katarzyna Barańska / Language(s): English Issue: 1/2021

The IPCC Report on the Future of Climate Change, published in August 2021, leaves no doubt that everyone must work to reverse deadly trends. Museum institutions also share responsibility for the future of the planet, and their raison d’être also depends on it. Only a fragment of museum activities that are or may be undertaken in order to participate in saving the Earth is mentioned in the text. They concern the last and seemingly the least important link in museum activities — the shops and souvenirs offered there. The ways of thinking and organizing the sale of souvenirs were indicated, as well as arguments to counteract excessive consumerism, which was treated as the implementation of the mission and essence of museology.

„JADRANOVI“ SIMBOLI: SPORTSKA I KULTURNA BAŠTINA GRADA SPLITA I REPUBLIKE HRVATSKE

Author(s): Ante Vuković,Marijan Čipčić / Language(s): Croatian Issue: 46/2020

In Croatia, at present, there is a very small number of natural and even juridicial persons who are more than one hundred years old. Among legal entities, it is the sports association Jadran Split. The association was founded on September 23, 1920 under the name Maritime Sports Association Baluni. It changed its name several times in history. After extensive research, the authors have found that the first name change occurred in 1923 and not in 1924 as has been so far reported in a number of sources. On September 21, 1923, the club changed its name into the Yugoslav Sports Club Baluni. Then, soon, another change of name occured: since 1924 the club had been known as the Yugoslav Sports Club Jadran. The third change of the name is viewed as significant since, so far, it has been insufficiently researched and highlighted in publications. After the establishment of the Banovina of Croatia – an autonomous province within the Kingdom of Yugoslavia at the end of August 1939, another changed of the name occurred. Since September 20, 1939 and under the chairmanship of Josip Čulić, the club had been known as the Croatian Swimming Club Jadran. At that time, Jadran was the first sports club in both Split and Dalmatia with the prefix Croatian in its name. The greatest value of the club insignia lies in the fact that in its long history they have never contained the ideological features of the specific period. In this respect, Jadran stands out from other clubs in Split. The third club symbol is the flag. The original Baluni flag was blue (the color of the sea) with a red circle in the middle (the sun), and today it is the same shape and color as the sign. Other significant club symbols are the greeting and the anthem. The original club greeting was Alon čin, čin, alon, čin, čin, bum, bum, a, a. Since the Baluni days it has been slightly modified and at present it is Alon čin, čin alon, čin, čin, oe, oe, oe, oe. The anthem Naš Jadran je šampion (Our Jadran is a champion) was composed by Zdenko Runjić, Eva Silas and Remi Kazinoti at the time of the greatest successes of water polo players who became European champions in 1992. It was the first European title of a Croatian club in the internationally recognized Republic of Croatia.

„Kogo stać?” — wystawa niestała w Muzeum Etnograficznym w Krakowie

Author(s): Dorota Majkowska-Szajer / Language(s): Polish Issue: 1/2021

KrakówThe article takes the readers behind the scenes of the changes made to the permanent exhibition of the Ethnographic Museum in Krakow at the end of 2020. A separate space en-titled “Who Can Afford?” has been created in two exhibition rooms in the Museum’s main building. Instead of generalising about “folk culture” and “the people”, the curators relate a story about different people comprised of individual cases, actual human fates, and very disparate experiences — silent, forgotten. This way, the ethnographic collection becomes the key to talking about the idea of legacy — the often troublesome inheritance from our ancestors and the emotions associated with stepping into the ambiguous role of heirs.

Історична постать Ігнація Яна Падеревського крізь призму синтезу мистецької та політичної діяльності

Author(s): Gabriella Laslivna Astalosh / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to reveal the role of I. J. Paderewski in realization the patriotic ideas of Poland's independence through the prism of synthesis of creative and political activity. In accordance with the goal the following tasks were set: to consider the figure's biography in interaction aspect of the basic spheres of functioning; determine the personal prerequisites for national ideas formation; to reveal the practical implementation of life credo; to characterize the historical, social and cultural, artistic contribution. Methodology. In course of the research the following methods were used to reveal the presented problems: historical (study of the life story), source studies (elaboration of existing scientific works on related issues), analytical and structural-logical (coverage of the chronological aspect of the problem, understanding the specifics of activities), method of theoretical generalization (to summarize). The scientific novelty. For the first time in the history of Ukrainian scientific thought the figure of І. J. Paderewski was considered as a complex phenomenon of the interaction of human's radically different spheres of activity. Conclusions. The personality of pianists, public figures, orators, politicians, and philanthropists became a main in both the musical and political life of Poland in the late XIX - early XX century. Thanks to his incredible musical talent and rich concert practice, he brought the problem of Polish national identity to the world level and enlisted the support of the most influential circles in matters of statehood. Paderewski’s phenomenon is in his indomitable spirit, faith in the independence of his country, efficiency in all spheres of his life, in the complex unity of poetic art and prudent politics. In the European cultural heritage, this is a unique case of coexistence of contrasting human activities, their mutual functioning in achieving the existential credo of an outstanding person.

Чи була самостійною сарматська монументальна кам’яна скульптура?

Author(s): Sergey Roslyakov / Language(s): Ukrainian Issue: 2/2013

The article is devoted to the main problem of the development of Sarmat monumental sculpture on the territory of Ukraine. The politic history of Sarmat tribes began in III – II centuries B. CH. on the territory between rivers Don and Dunay. The most earlier monuments of Sarmat culture on the territory of Ukraine belong to II century B. CH. As to Sarmat fine art, it was first of all decorative art of weapon, horse – collar, human clothes, so on. But the essential part of Sarmat culture is monumental sculpture. The first Sarmat sculptures very similar to Scythian monumental stone sculpture. Sometimes it is very difficult to different, to whom it may concern: Sarmat or Scythian culture. We can see this on the example of sculpture from village Zavitne (Crimea). It is the image of warrior. The height of the sculpture -1,1 meter. The image of it absolutely repeat the image of Scythian warrior with sword, necklace and rython for vine in hands. We also can see the face of warrior. But the image of Sarmat warrior, as to professional sculpture level, is very low. Comparison of this sculpture with Scythian sculpture show, that last one much perfect from professional and artistic point of view. Also in Crimea were found another monument. It is stone stele (height – 0,9 m.) with face and without any attributes. But on this monument we can see the graven sign – Sarmat’s tamga. The image of tamga much expressive in comparison with image from out forms of sculpture. It is real dominant, because sign on sculpture occupy attention of any looker. After this moment Sarmat sculpture step by step lost interest to artistic out forms of sculpture and moves to direction of using abstract out forms and paid main attention to the image of sign (tamga). The next artifact of Sarmat sculpture is very important for our topic. It was found in Zaporizzia region. It is stone stele? much higher than all previous monuments (height – 1,73 m.). Sculptor, who made this monument, did not use out forms of human body. On the place of the face he graven one great sign. So, tamga became associated with image of man. The last sculpture were found in the grave of Sarmat warrior. May be it was the burial monument. In Crimea, in Kermen – Kir, were found the anthropomorphic stone part of human body sculpture with the head (height – 0,83 m.). On this artifact we can see the fact of man with closed eyes. So, we can consider, that it is burial monument, too. On the chest of the monument is situated the sign of tamga. Here, on contrary, sculptor prefers to use first of all artistic out forms of human body, not sign. But, we have got another monument, very similar to previous sculpture. This artifact was found in Kerch, in Crimea. It is stone stele (height – 1,12 m.). This monument has got the same out forms, but there is no face. We can see great amount of signs of different sizes. There are few small tamgaes and several big ones. The biggest tamga is situated on the front surface of this sculpture and on the back of the monument. So, sculptor demonstrates to us how we must identifier the image of this burial monument with person or, maybe, several persons of one family. Monumental art of stone sculpture of Sarmat tribes is very different. It’s it main message to modern scholars. On the territory of Backlin grave in Crimea was found very interesting stone stele. It has form of man’s penis with the sign of one tamga. The height of this stele – 0,85 meter. The hole impression from this artifact is very realistic. The sign of tamga is situated on the height of the head of penis. It is the upper point of sculpture. So, it is attracted attention of any looker. We did not find any analogues to this monument on the territory of Ukraine. It is rather difficult task tу say any about appointment of this artifact. Probably, it was useful during some sacral ceremonies, for example, initiations. This stele, so, as all previous monuments belong to I c. B. CH. -1 c. A. CH. The main trend of development of Sarmat sculpture later goes into direction to refuse from out forms of sculpture and using only signs, as the main source of information. Best illustrated examples of this direction are stone’s burial Sarmat monuments of II c. A. CH. All these artifacts have got out form of four corners stone stele with one big sign of tamga on its front surface. One of these steles was found in the East Crimea region. The height of this artifact consists 1,07 meter. The image of the very big tamga absolutely paid the all attention of looker. There are a very great group of Sarmat monuments with signs of tamga between of attributes of Greek antique sculpture : images of nymphs, ornament, so on. We do not used this group of Sarmat monuments in our article, because it is belonged to another, antique culture. All these monuments were made by Greek sculptors. As to the Sarmat sculpture heritage, we consider that it was not independent, as the event in their ancient culture. The earlier Sarmat sculpture was under the great influence from the side of Scythian monumental sculpture. But, during the all time of its existence, Sarmat sculpture is transformed from realistic to abstract out forms of sculpture. Sarmat sculpture even on the early stages of it development tried to less realism and bigger scheme in it’s out forms. The high level of this trend we consider Sarmat "encyclopedia". It is very interesting artifact. "Encyclopedia" consists of a great amount of Sarmat’s signs (tamga) on the big four corners stone stele. These monumental artifacts were very popular among Saitttat tribes and their culture heritage of I – II cc. A. CH. So, even from our shot article we must do very simple summit, that Sarmat sculpture is not independent event. On the contrary, it is very dependent event. It is depended from Scythian and antique Greek culture, first of all sculpture. Anthropomorphic stone steles were under strong influence of Scythians. Four corners stone steles or Sarmat burial monuments were made under influence of Greek sculpture. Antique sculptors made them especially for Sarmat. Sarmat sculpture was very different in its types, it’s images, professional level of sculptors, even stone materials. Usual stones with Sarmat signs we cannot consider as sculpture. Few, very specific monuments, such as stone stele in form of man penis, from Backlin grave do not change the main trend. The author consider, that the main reason of such situation with Sarmat sculpture is follow: during the period of active development of Sarmat language and first write the general interest of human society was devoted to abstract images. They are characterize language and write, but not sculpture and not fine art. Sculpture and fine art operate usually with concrete images and concrete forms. That is why Sarmat sculptors preferred abstract out forms and Sarmat society preferred signs. The author, after the analysis of artifacts of Sarmat sculpture, came to conclusion that this people did not created own independent sculpture heritage. Sarmat sculpture always go after Scythian or antique sculpture. At last sculpture was replaced by system of signs. The main cause of this is the development of early own write.

Читалищата в съвременното университетско преподаване (Проучване на случай – Великотърновски университет „Св. св. Кирил и Методий“)

Author(s): Margarita Karamihova,Petko Petkov / Language(s): Bulgarian Issue: 1/2019

The researches and the university teaching on the topic of chitalishte are among the traditional but barely presented themes in Bulgarian history education. At the same time, the establishment and functioning of the chitalishta as an active element of the system, which will organize the future of the independent state (19th century), continues to focus the interest of the researchers of Bulgarian modernity.The article comments the contemporary teaching concerning the role of the chitalishta in modern Bulgarian history and culture at the University of Veliko Tarnovo, which gave rise to the necessity of realizing "Find a Treasure!" project. The results of the project and its potential for future national research are presented.

Читалищата по време на пандемия – политики и практики

Author(s): Stela Nenova / Language(s): Bulgarian Issue: 1/2021

The measures for limiting the distribution of COVID-19 that have been undertaken by the state during the last months affected many institutions and people engaged with the preservation of local cultural heritage, both tangible and intangible. The article discusses the official policies towards the community centres (chitalishta) in the current complicated situation caused by the pandemic crisis. Additionally, it utilises direct observations in the field, in the media and in internet milieu, and interviews with community centre workers and representatives of communities that are successors of cultural heritage. Based on concrete examples, the study offers a general and up-to-date picture of preservation practices, developed on local level, such as the ethnographic collections at the community centres, the non-professional groups for folklore, and different initiatives related to the popularisation and socialisation of cultural heritage.

Читалището и опазването на нематериалното културно наследство (Из живота на групите за фолклор в Бистрица и Алино)

Author(s): Stela Nenova / Language(s): Bulgarian Issue: 4/2019

The article represents the folklore groups created in the second half of the 20th century. They allow for the local village tradition (preserved as a living practice of its bearers) to enter the local chitalishte. The analysis of the filed-work research in the villages of Bistritsa (Sofia City Municipality) and Alino (Samokov Region) reveals different aspects of the relation between chitalishte institution and intangible cultural heritage in the changing social and cultural contexts, as well as in relation to the changing cultural policies. Thus the article offers an anthropological point of view to the transmission of traditional knowledge, skills and experience in chitalishte environment.

Читалището: трансмисия, единение, институция…

Author(s): Mila Santova / Language(s): Bulgarian Issue: 1/2019

Asserting for decades on end its status of a focal point of the (social and) cultural life of (predominantly small) communities, the institution of the Bulgarian chitalishte in its more than a century existence has gradually but firmly accepted and realized its functions related to the transmission of the local culture. The text develops the discourse about the chitalishte as “memory” as well as a a “generator” of local culture, closely related to its institutional status based on community unification.

Читалищни народни университети

Author(s): Penka Tzoneva / Language(s): Bulgarian Issue: 5/2021

165 years separate us from the creation of the unique structure for Bulgarian education – the library community centers. The evolution of their functions has an unchanging focus – raising the cultural and educational level of the population regardless of gender, age, beliefs, ethnicity and religion, carried out in different, historically originated forms. One of them is the Library folk university – a higher form of library education in its capacity of the most popular extracurricular education. The derived practices and approaches applied by the people's universities in the process of education of the local population according to its real spiritual and social needs are a valuable experience for the modern educational policy, called to be an active factor for self-education and lifelong learning.

Шевченкова спадщина – унікальний культурний скарб українського народу

Author(s): Oleksandra Vasylivna Shynkaruk,Vasyl Dmitrievich Shynkaruk / Language(s): Ukrainian Issue: 4/2019

The purpose of the article is to analyze the influence of Taras Shevchenko’s personality on the Ukrainian cultural creation. It is based on the analysis of the reputable sources from the perspective of a modern methodology. It proves the influence of the concepts God, Ukraine, Freedom in the Great Kobzar’s creative heritage on the cultural and educational life of the Ukrainians. The methodology is based on the proper methods of foreign and national sciences. The primary method is a structural and narrative analysis of the content and genre form of the text. A comparative typological method is also used to study Taras Shevchenko’s heritage. Historical-biographical, historical-literary, and contextual methods are used for a complete presentation of the poet’s creative worldview. Scientific novelty deals with the study of the Great Kobzar’s role in the Ukrainian cultural creation, the influence of the concepts God, Ukraine, Freedom in the Great Kobzar’s creative heritage on the cultural and educational life of the Ukrainians. The data is systematically studied. The significance of the Great Kobzar’s creative heritage in Ukrainian cultural creation is emphasized. Conclusion. Theoretical and methodological aspects of the research are based on the contemporary methods and principles of cognition of historical phenomena and processes. The study of Shevchenko’s heritage as a unique cultural treasure of the Ukrainians should be developed into a comprehensive monographic study. The Great Kobzar’s figure n the Ukrainian cultural creation is a symbol of the revival of national identity. It was Taras Shevchenko who formulated the ideology of the Ukrainians’ freedom in his works and created the system of values. The influence of the concepts God, Ukraine, Freedom in the Great Kobzar’s creative heritage on the cultural and educational life of the Ukrainians is highlighted in detail.

Шедевр в експозиції художнього музею

Author(s): Olena Mykolayivna Goncharova / Language(s): Ukrainian Issue: 34/2015

The article is devoted to analyze the conceptions and principles of placing of fine art with the status of masterpiece in the world art museum exhibitions. Masterpiece (from the French. Chef-d`oeuvre - letters.: "produced with General created") – a work of art, architecture, literature that stands out against the background of high levels of skill, its uniqueness or innovative nature for past achievements in the appropriate form art, and for a long time not losing the aforementioned qualities. In the original sense of the word – during the Middle Ages in Western Europe – a masterpiece of craftsmanship was evidence, which craftsman apprentice had to submit samples of their products to the shop in order to obtain a master's degree. New, modern sense of the word acquired at the end of the XVIII century., When the world began to form a large number of museums, which selected works of special artistic perfection. The works of modern, mostly avant-garde art, not fit with the traditional system of exposure that caused the search for new principles of public display in art galleries, exhibition halls, and, eventually, museum expositions. Specificity works of modernist art transformed them into individual exhibiting artifacts. In our view, today the problem of exhibiting works of art to the status of masterpieces should be viewed as a kind of problems to be solved within the concept «exhibit in focus». Updating problems exhibiting masterpieces falls to the brink of the nineteenth and twentieth century’s. When it was suggested the division of museum collections for scientific collection and demo collection. The material for this writing became a full-scale observation and reliance on photo and video stationary and exhibits European art museums: the Louvre and Orsay in Paris (France), the Uffizi Gallery and the Gallery of the Academy of fine Arts in Florence (Italy) Reyksmuzeumu in Amsterdam and Frans Hals Museum in Haarlem (Netherlands), Alte Pinakothek in Munich (Germany). Feature museum of life in the Netherlands is that in this country there is no museum of the universe, like the Louvre or the Hermitage, which would focus the vast majority of artistic treasures. Museums all over the country and the glory of many of them based on the national school of painting masterpieces that belong to a particular museum. Uffizi Gallery in Florence chronological principle combined with thematic exposition: general view movement begins with painting XIII, In the course of deployment "historical perspective exhibition" halls filled with the works of individual artists. In Russian museums, including Tretyakivskiy art gallery, in the early twentieth century. the first to introduce changes in exposure famous artist and restorer I. Grabar. In implementing historical and chronological exhibition, he tried to highlight the most important works of art through the manipulation of space and color. Grabar proposed to keep more distance between paintings, consider the aspect ratio of the pictures and their coloristic interrelation. The challenge to attract attention and to concentrate on its masterpiece in the exhibition is solved in another way, for example, drapery room or accommodations paintings. The museum practice for accentuation masterpiece commonly used manipulation of spatial placement of paintings or sculptures rarefied pieces around masterpiece, or even their elimination. Emphasis on techniques can be considered a masterpiece of the principle of graduation: smaller format paintings surroundings, which are located on the basis of increase. If the reception is the possibility of placing items on the principle of symmetry, where the "axis" with the status of work on display masterpiece. The auxiliary techniques serve coloristic decision exposure (similarity or contrast planes (walls, draperies) and exhibit). In the role of museums, where works of art, which recognizes the status of masterpiece, often favor their own masterpieces of architecture and religious buildings, the exhibition in which works of art has its own specifics. Coverage of the status of masterpiece, its acquisition criteria and range of objects that fall under this category require separate thorough study.

Эрмитаж между "музеем нового искусства" и "музеем быта": проект И.И. Жарновского в контексте проектов революционной эпохи

Author(s): Vitaly G. Ananiev / Language(s): Russian Issue: 3/2018

The revolution of 1917 caused changes in the field of museology. The problems of reform and management of the country’s main museums were widely discussed. One of these museums was the Hermitage. The paper considers the projects of its reforming. Based on the archival materials, which did not previously attract the attention of researchers, the positions of authors of these projects have been analyzed. The emphasis has been laid on the project of Ivan Ivanovich Zharnovsky, the young art historian, assistant curator of the Painting Gallery of the Hermitage. This project was presented at the meeting of the Subcommittee on Museum Work and Preservation of Monuments established at the Institute of Art History (Petrograd) on March 1917. The Subcommittee had the goal to prepare for the establishment of the Ministry of Arts as the main governing body in the museum field. Several reports were devoted to the fate of the Hermitage. In his report, I.I. Zharnovsky insisted that a representative collection of the 19th-century Western European paintings should have been housed in the Hermitage. In many respects, these ideas stemmed from the experience of Germany that was familiar to this young art historian. His suggestions reflect the general spirit of the era and allow us to view the transformations that the Hermitage underwent in the first years of the Soviet government from a new perspective. This report is additional evidence that the museum politics of the first post-revolutionary years cannot be perceived as pure voluntarism of the Bolsheviks. The representatives of the intelligentsia from pre-revolutionary generations played an important role in developing its foundations.

Юбилейная Международная научная конференция, посвященная 130-летию со дня рождения Анны Ахматовой и 30-летию Музея Анны Ахматовой в Фонтанном доме (Санкт-Петербург, 23–25 июня 2019 г.)

Author(s): Galina Michailova / Language(s): Russian Issue: 2/2019

В рамках трехдневной научной конференции ПроЧтение Ахматовой, прошедшей в Санкт-Петербурге 23–25 июня 2019 г., были проведены три «Круглых стола» и «Ахматовские чтения». 23 июня в Белом зале Шереметевского дворца состоялся круглый стол «Ахматова. Тоска по мировой культуре. Актуальный взгляд профессионального читателя». Модераторы – заместитель гл. редактора журнала «Знамя», литературный критик Наталья Иванова и профессор Олег Лекманов. Участников приветствовала директор музея Ахматовой в Фонтанном Доме Нина Попова, определившая жанр предстоящего собрания «профессиональных читателей» как диалог, устный рассказ о творчестве и личности Ахматовой, которая отстаивала свою литературную и гражданскую позицию в гордом одиночестве, независимо от мнения подавляющего большинства. Это важно для современной эпохи. [...]