Prof. dr. Dorinel Ichim: Palate, castele şi conace din judeţul Bacău
Review of: PROF.DR. DORINEL ICHIM, PALATE, CASTELE ȘI CONACE DIN JUDEȚUL BACĂU, , ONEŞTI, ED. MAGIC PRINT2020, 154 P., CONŢINE BIBLIOGRAFIE,ISBN 978-606-622-495-6
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Review of: PROF.DR. DORINEL ICHIM, PALATE, CASTELE ȘI CONACE DIN JUDEȚUL BACĂU, , ONEŞTI, ED. MAGIC PRINT2020, 154 P., CONŢINE BIBLIOGRAFIE,ISBN 978-606-622-495-6
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This article, essentially a catalog of coins, presents an interesting aspect, the presence, alongside genuine coins, of modern monetary forgeries.
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Today, when natural and cultural heritage elements are exposed to negative effects, transferring cultural heritage elements to future generations in a healthy way, both locally and globally, is an important issue in the urban planning agenda. For this reason, the concept of cultural route emerges as an important planning tool in order to protect cultural heritage elements in a sustainable way and to transfer them to future generations. The goal of creating cultural heritage within a route setup is important both for the conservation of cultural heritage elements and for the formation of an alternative and sustainable tourism movement. Istanbul contains heritage items from various historical periods. For this reason, in this city, which is rich in cultural heritage elements, the construction of a cultural route has an important aspect both for the conservation of the heritage and for the transfer of the heritage to future generations. Since no cultural route has been constructed in the Historical Peninsula until now and the routes organized have the characteristics of a tour route, it is of great importance to look at the subject from the perspective of creating a cultural route. Istanbul Historical Peninsula is an area rich in heritage items belonging to various periods, especially for fresh water supply. In this study, open and closed cisterns, which are among the water heritage elements in the Istanbul Historic Peninsula, were examined and evaluated within the scope of a field study based on GIS analyses in terms of their potential to create a cultural route. It is aimed to increase the visibility of these water heritage elements, whose visibility has decreased in daily life, in spatial planning and to transfer them to future generations by protecting them in a sustainable way. As a result, the most important finding of the research is that the open and closed cisterns in the Historical Peninsula of Istanbul can be evaluated within the scope of a cultural route for water heritage. Accordingly, the creation of a cistern-themed cultural route will create an opportunity to increase the visibility of water heritage elements in a sustainable way and to transfer them to future generations, both in heritage conservation studies and spatial planning studies.
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This article presents the theoretical approach used in the study regarding the transformation of a former artillery shooting range in Versailles into a technological campus for the mobilities of the future. It lays out the reasons for our plea to save the ruins of the military compound by integrating them into the future architectural project. We explain how the materiality, form and use of the space under analysis and its perception in the collective imaginary contribute to the assertion of the identity of a place equally laden with historical significance and expectations for the future. At the same time, the didactic, exemplary character of the approach is presented as a possible starting point for proposals applied to similar contexts. While reviewing the context of the demand for the study, the client’s specifications, the stake of the project for the French Institute of Science and Technology for Transport, Development and Networks (“Institut Français des Sciences et Technologies des Transports, de l’Aménagement et des Reseaux”, abbreviated IFSTTAR) and its relation with the surrounding urban operations, this paper explains the application of the methodological filter proposed by architects and researchers Paul Landauer and Luc Baboulet to justify the heritage value of relatively recent constructions; to this purpose, we refer to the theory of John Brinckerhoff Jackson, pioneer of cultural landscape studies as well as to the sensible approach of architecture historian André Corboz and architect Andrea Felicioni on territory.This work discusses general issues such as the emergence of new districts and their contextual anchoring. The Satory example will be helpful for architects and urban planners wishing to defend the interest of partially preserving the existing structures found on the sites to be developed.
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Art and architecture have often worked together, so it is not surprising that architects around the world continue to create and transform spaces for exhibiting art in an appropriate setting. Art has always been an escape from the world, a glorification of the worldly and a way of translating human emotions. It has evolved and generated various movements and styles over time, but the traditional elitist gallery consisting of a neutral space, devoid of accents, meant to highlight only the works it contains, has dominated the architecture of museums for a long time. From royal collections to national museums or salon collections, the history of the exhibition of artworks has known rich and varied stages. In this evolution, however, a turning point occurred in the 1930s, when the Museum of Modern Art in New York and its director, Alfred H. Barr Jr. developed the aesthetic concept of the “white cube”, a revolutionary method of presentation at that time, which aimed to focus in a netral manner on the works, erasing from their space everything that could have interfered with the object on display, as a response to the specific needs of that era. Since then, society and culture have undergone important changes but spatiality and the manner of display in modern and contemporary art museums and galleries have remained essentially the same, regardless of the nuances of present reality. This paper aims to explore the ways in which a series of architects, artists and curators detached themselves in different periods from the vision of the “white cube” and turned to the use of architecture as a resource for building a coherent artistic and curatorial discourse, which was not limited only to the visual nature of the exhibition, but engaged (all) the visitor’s senses in a complex sensory perception. We will refer to the spatial experiments of El Lissitzky and to the exhibitions of Lina Bo Bardi, who reinterpreted conventional modes of communication and architectural vocabulary to create a multisensory experience. At the same time, exhibitions or galleries designed by contemporary architects like Álvaro Siza and Carlos Castanheira will be studied, as they also emphasize the role of architecture and its characteristics in terms of building an artistic concept and of involving the viewer in receiving and decoding the message.
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The aim of the paper is to find the most frequent links and connotations of the notions related to the values of the Jewish religious community in Bratislava before WWII. We understand community as an entity that requires adherence to a set of values, norms, and meanings; religious community is understood as one of the most important and influential constitutive communities in human life. We have therefore decided to process and analyse selected concepts and their closest semantic determinations in the corpus of epitaphs which were found on the tombstones of the Old Jewish Cemetery (already largely destroyed) in Bratislava. The research will be realized via advanced text analysis instruments and new IT tools which are gradually being introduced in wider research of humanities. Based on the research results, we will try to identify the basic values within this community and determine its interpretative traditions.
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Constantine and Methodius laid important foundations for the diverse culture of Eastern Slavic peoples. In the spread of the ideals of this culture, Christianity played an important role. An official adoption of Christianity in A.D. 988 had several important features: development of art, craft, literature, sacral architecture, etc. It is thus understandable that in eastern Slavic countries, the cult of St. Constantine and Methodius began to grow immediately. However, there is a lack of information about the way the brothers' work affected Eastern Europe and the difficult journey it must have experienced. Both Slovak and Czech historiography provide only rough outlines of these matters. Researchers in Slovakia and the Czech Republic offer no detailed discussion of the huge contribution of Constantine and Methodius to the culture of Eastern Slavs. This condition may be the result of both limited source materials and limited access to the sporadically discovered materials.
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The article presents provisional results of research into material relics of the Great War in the foreground of the Dęblin Fortress. In the years 1914–1915, this area became the arena of battles between the Russian, German, and Austro-Hungarian armies. The hostilities left their mark on the landscape, such as field fortifications, forts, and cemeteries. The aim of the research was to locate and establish the chronology of the remains of field fortifications on the Gniewoszów-Bąkowiec-Mozolice line. The research involved analysis of source materials, LiDAR, field verifications, and analysis of the social value of relics of the Great War. The last phase of the research was analysis of the social value of these objects based on the philosophy of managing the past through preservation and heritage, exemplified by the cemetery in Wysokie Koło and the Gorchakov Fort. The research allowed to determine the course of the main Russian defence line from 1915, which consisted of three groups: Gniewoszów, Bąkowiec, and Mozolice. The best preserved are the remains of field fortifications within the Bąkowiec group, which was the central section of the Russian defence line. As analysis of the social value of the Great War relics indicates, the dominant way is to create heritage, and the message conveyed by the content of places representing the past causes a lot of controversy and conflicts among local residents.
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The article discusses selected issues concerning the morphology of cemeteries of completely depopulated rural settlement units located in the part of East Prussia that was incorporated into Poland in 1945. The boundaries and spatial forms of the cemeteries were analysed and interpreted. These are actually the best-preserved components of the landscape of these historical burial places. The basic source material used in the study for the identification and preliminary analysis of the boundaries and shapes of the cemeteries were the sheets of the Topographische Karte Messtischblatt map from the 1920s–1940s and orthophotomaps showing the current land cover. Detailed analyses were performed using altitude measurement data from airborne laser scanning (resource of the Central Office of Geodesy and Cartography). The research results show clear differences in the size and shape of cemeteries belonging to specific types of settlement units. The preserved relics testify to the different ways of organising burial places at single-manor estates, where family cemeteries functioned, and those established in villages. The results of the analysis also indicate the characteristic features of the contemporary landscape of former Evangelical cemeteries, facilitating their field identification.
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Museums remain on the agenda as an important component of cultural experience. Gastronomic museums are one of the areas that tourists who want to have a gastronomic experience and increase their knowledge turn to. Within the scope of the study, visitor experiences in gastronomy-themed museums in Türkiye; It is aimed to present suggestions to gastronomy museums and visitors to improve their experiences by examining them in terms of service errors. Negative comments of museum visitors on the TripAdvisor site were accepted as service errors and were evaluated by content analysis. As a result of the analysis, service errors in gastronomy themed museums; visitors, service system, employees, museum management and organization, environment. Among the negatively reported subjects, the highest rate was; The size of the service error caused by the visitor has been determined. The content, quality and taste of the food and beverages offered, the high prices, the recommendation status to other visitors, the adequacy of the content of the food and beverages offered, the disinterested attitudes and approaches of the employees were expressed by the visitors as service failures.
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This study aims to highlight some common aspects of the life and work of two great Romanian musicians: George Enescu and Clara Haskil. The documentary source includes press articles, postcards, posters and photographs that belonged to George Enescu and are preserved in the archives of the museum that bears his name.
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This study presents several ideas derived from the research of some correspondence pages kept in the GENM archive in Bucharest – letters, telegrams sent to the Maestro by three senders (two scientists and a musician): Grigore Eugeniu Neculcea (1876-1954, politician, physicist, mathematician), Constantin Motăș (1891-1981, zoologist, biologist) and Fernand Halphen (1872-1917, composer). These pages have led to dissertations that reveal details about the musician’s biography as well as information about the personalities appearing on his correspondence list. Scientists, scholars and musicians alike appreciated George Enescu’s human and professional qualities, confessing their admiration in congratulatory messages, or in friendly or official letters. Preserved by the composer and then by the museum that nowadays bears his name, the research of these correspondence pages confirms already known facts, or reveals others less known about George Enescu.
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The bronze hoard at Banatski Karlovac (Nagykárolyfalva/Karlsdorf, opš. Alibunar, South Banat District, Vojvodina, Serbia) was discovered in 1896 on the plateau at the northern edge of the town towards the Aibunar marsh (Fig. 2). From what F. Milleker found out, there would have been a total of 32 pieces: 17 socketed axes, 10 anklets, 1 bracelet, 2 spearheads, an "arm guard" and a possible helmet decoration. They shared between the landowner and the workers, 8 pieces arriving at the museum in Vršac and 5 pieces at the museum in Timișoara. A first, more detailed publication of the Banatski Karlovac bronze hoard is due to R. Rašajski. He will describe and illustrate 9 objects (5 socketed axes, 3 leg bracelets and the "arm guard ") from the collections of the museum in Vršac and 8 socketed axes from the collections of the Banat museum in Timișoara (Fig. 5). In this article, due to the mistakes regarding the dimensions and the drawing of the pieces in R. Rašajski's work, we resume the publication of the 8 socketed axes from Banatski Karlovac that are kept in the collections of the museum in Timișoara (inv. no. IV – 6147, Pl. I/1; IV – 1491, Pl. I/2; IV – 1489, Pl. I/3; IV – 1492, Pl. I/4; IV – 1488, Pl. I/5; IV – 1490, Pl. I/6; IV – 1493, Pl. I/2; IV – 1494, Pl. II/3). To these are added a spearhead (IV – 1487, Pl. I/1), otherwise mentioned in specialized literature without having been illustrated, and 2 socketed axes (inv. no. IV – 6145, Pl. II/4 ; IV – 6146, Pl. II/5). The belonging of the 2 socketed axes to the Banatski Karlovac bronze hoard is recorded in the inventory register IV of the museum in Timișoara (Fig. 6). The finds from the Banatski Karlovac bronze hoard, in the absence of other more reliable dating elements, may cover a longer period of time. That is why it seems reasonable to place it in the so-called Late Bronze II and III of the relative chronology of the eastern Carpathian Basin (Bz Bz C2/D-Ha A). The cultural milieu in which the pieces of the Banatski Karlovac bronze hoard circulated until the time of their deposition in the ground is suggested by some older or newer finds made in the same area where this hoard was discovered (Fig. 7). However, it is about that characteristic Late Bronze Age II horizon (Bz C2/Bz D and the beginning of the Ha A1 phase) in the low plain of Banat which has been attributed to the so-called Cruceni-Belegiš II ceramic style.
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In this article, on the example of museums we consider the problem of constructing a single explanatory framework for understanding disability and inclusion, germane in the context of the multiplicity of interpretations of what an ideal accessible museum is. To construct such an explanatory model, this study analyzes the experience and judgments of museum professionals and blind visitors with regard to disability and inclusion. The modern museum is a source of authoritative opinions and collective experiences. It represents a platform where specialists and other categories of visitors engage in dialogue. One of such categories are blind and visually impaired people who have unique demands on museum infrastructure compared to other categories of visitors. The analysis was based on the materials of 19 in-depth semi-structured interviews with blind and visually impaired visitors and 11 interviews with specialists for inclusive museums, as well as 2 formalized observations at inclusive events in museums. As the results of the study show, unique demands of blind visitors can transform the role of the museum as an agent of sociocultural inclusion. Curators and accessibility specialists hold certain ideal visions about the assembly of context of disabilities within institutions. These ideas are largely determined by the logic of the concept of postmuseum as one of the key directions in the development of this sphere. They encounter the attitudes of blind and visually impaired people and collide with their agency and their own understanding of the optimal models for assembling disability both within the museum and outside its walls. The core of the semantic field of disability in a museum with an accessible environment is the understanding that blind visitors today do not want to feel their “exclusion” and want to move along their own “path” in museum space shared by all visitors. The museum must take into account the unique needs of blind and visually impaired visitors, which leads experts to talk about the corresponding occurrence of processes opposite to inclusion and reinforces the discussion about the conceptual accessibility of museums for blind visitors.
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By assuming tasks which are by law assigned to museums, the inhabitants of two quarters in north Kraków are unwittingly introducing ‘new museology” principles into the life of their community. Their focus on experience and interaction is visible in social actions like the“sledge protest” and interest in the concept of “daughterhood”. The contextual character of their activities shows that Prądnik residents care about protecting the heritage of the communist period. Their respect for depositors is expressed by actions aimed at opening the preserved Bereś atelier to the public. They critically assess their own knowledge and in civic budget voting consistently opt for projects focused on popularising local heritage. Constant contact with the audience and co-creation are key factors behind the popularity of “Slow Music Making” events, Painting Lending Library, communal urban gardening and space annexation through language. Prądnik residents have developed a set of qualities typical of a perfect conscious audience of a museum — an institution that is yet to be created.
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A museum exhibition is a cultural creation which consists of various elements — exhibits, texts and artistic arrangement. It is a complete whole, not a collection of random items mindlessly displayed. Over the years, the selection of topics and ideas for shaping the exhibition space has changed. Particular examples of places where this phenomenon should occur are ethnographic museums, but often such institutions have been stuck in a time warp and have ceased to keep up with a museum audience with different cultural background and perceptual abilities. The main part of the text is the analysis of the permanent exhibition and temporary exhibitions presented at the Ethnography Department of the National Museum in Gdańsk in 2016-2018. It is complemented by reflections on the future of ethnographic museology.
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The article describes the Vietka Museum of Old Believers and Belarusian Traditions named after Fyodor Shklyarov, the history of its creation and activities. The author points out its important scientific, research, educational and exhibition role in the Gomel region and among researchers of Old Belief issues. It emphasizes the uniqueness of this regional museum compared to other Belarusian museums of this type.
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Niesprawiedliwa agresja Rosji na Ukrainę powoduje niezliczone zbrodnie, cierpienie i ofiary. W takich okolicznościach najważniejsi są ludzie — ludność cywilna narażona na barbarzyńskie bombardowania, żołnierze walczący z agresorem, ginący cywile. Każda wojna to jednak także niepowetowane straty w dziedzictwie narodowym i kulturze.
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The Hungarian research of the material of the Austrian National Library, including the Imperial Court Library, is an ongoing story about Hungary as well, however, the spectacular subjects (Bibliotheca Corvina, Johannes Sambucus, Hans Dernschwam) overshadowed the regularity. More recently, the role of Vienna as a center has even been investigated at a theoretical level. From the perspective of the Court Library, the habits of three social groups must also be taken into account when examining the development of Hungarian or Hungarian-related book collections. (1) The Viennese printers who published the books were interested in delivering their products to the court. (2) The Hungarian patrons, either wanting to prove that the modern court spirit influenced them as well, or keeping their reputation by maintaining an institutional collection – doing this out of boast or mere politeness. (3) But the most interesting is always the author. The intellectuals like to be near power – even when it's the hated power. The author, the publisher, wants to be known and to live in the spotlight (even if they suffers from it). Since the 16th century, we can always find Hungarian intellectuals living in Vienna, who were at home in the capital of the Empire, and were not immigrants from Hungary. The 21st century's digital ÖNB clearly shows the wealth it has in Hungarian books, and we could also say that it is one of the largest Hungarian digital libraries.
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Over many decades, the library of Radvány castle has developed into a valuable and organized collection. The founders and owners of the library were members of the Radvánszky family from Radvány right until the time when it finally became state property. The collection has been described on several occasions, and the state of the library has been explored several times in the literature; however, to date, its holdings have not been described and published in detail. However, the specialist would be in an easy position, since catalogs have survived and, in addition, a significant part of the collection still exists, so there is a good chance that the library's stock can be reconstructed. The real and the supposed processes of building the collection may be traced back quite clearly over a period of more than a century and a half.
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