博物馆的市场细分与市场组合策略——以成都理工大学博物馆为例

博物馆作为非营利性的社会公共机构,一方面要尽量吸引参观者,发挥其学习、教育和娱乐的功能;另一方面又要使得这些参观者的数量不能超过其承载限度。解决这两难困境的有效方式在于借助营销领域的研究及实践成果,通过市场细分与市场组合的策略,把其承载功能与目标受众相联系起来。     

对整合哲学的有益探索——评介《整合发展—如何做强做大企业的学问》

当今世界,整合发展,特别是全球化的整合发展,既是经济学的重大主题,也是管理学的重大主题;既是一个企业长远发展的战略问题,也是一个国家长远发展的战略问题;既是一个科学研究的重要主     

学院与沙龙——法国国家造型艺术中心、巴黎国立高等美术学院珍藏展

正在法国驻华大使馆的支持下,法国国家造型艺术中心和巴黎国立高等美术学院首次联合中国国家博物馆设展。展览"学院与沙龙"汇集了上百件历史与现代杰作,展现从法国大革命到第一次世界大战前夕这一时期的法国美术,让参观者得以沉浸在法国19、20世纪学院派的活力和创造力中。"学院与沙龙"随后将于2018年6月8日至9月9日在云南省昆明博物馆展出。     

从北京演出业现状看我国演出业的法制建设

近年来,北京演出业发展迅速,成就显著。然而演出场所规模过小、票价过高、消费者权益难以保障等问题也成为其长远发展的制约因素。主要原因是我国演出业法规不健全。加强演出业的法制建设,是保障演出业长远发展的现实选择。     

略论中印经贸关系若干问题

中印经贸关系是两国关系中最具积极意义的领域,但随着两国经贸交流的快速发展,也产生了各种问题,其中较为突出的包括贸易非均衡问题和政治因素对经贸关系的干扰等.克服目前的障碍需要双方既有处理眼前问题的合适措施,也需要建立具有战略前瞻性的长远看法.     

再论构建广州十三行专题博物馆

十三行博物馆是彰显千年商都广州城市精神之魂的最好载体;十三行博物馆的内涵与外延具有历史性、国际性、现实性意义;选取十三行商馆遗址构建专题博物馆能产生良好的效果。筹建十三行博物馆并不需要大拆大建,并能更好地保护历代普遍遗产,促进历史街区的整体保护与复兴,形成具有规模效应的十三行商埠文化特色旅游区,带动相关产业的蓬勃发展,打造广州世界文化名城品牌。     

中国农村剩余劳动力转移问题研究

改革开放后中国经济社会获得了前所未有的发展,特别是农村经济的发展使农村出现了大量剩余劳动力.这些农村剩余劳动力不断向城镇转移,既减轻了农民对土地的压力,也促进了城市经济的发展.农村剩余劳动力向城镇转移过程,出现了很多问题和矛盾,具体有农民工参保难的社会保障问题、农民工婚姻家庭不和谐与计划生育管理难问题、农民工子女上学难、农村老人经济收入低及家庭养老负担大等问题.农村剩余劳动力转移出现的这些社会问题,对中国经济社会将产生长远的影响.解决这些问题是中国一项长期的任务,需要全社会共同努力.     

高校博物馆功能及特点初探

本文在对博物馆的发展演变及其功能认识的基础上,对高校博物馆的功能及其特点进行了初步探讨,并对高校博物馆在学校教学、科研中的辅助作用及其发展等进行了一定的论述。     

国际树化石园

主题回到一亿年前aged 100 million years古化石林是由深圳古生物博物馆馆长张和先生捐赠的,化石林占地面积达1.5万平方米,是一个数量3000多件包括美国、南非、印尼、俄罗斯、蒙古等多个国家的树化石园,其中生成时间最长的有一亿七千万年,最短的也有几百万年的历史。树化石园有三个世界之最,最高的树化石高13米,最粗的树化石直径2.8米,以及最大的树化石埋藏状态区。在这里参观者不仅可以从中了解树化石的形成过程,还可以了解一亿多年前的古气候、古地理、古环境。     

洛阳民俗博物馆的文创设计探索

<正>随着社会的发展,人们对精神文化的需求不断增强,加之互联网传播技术的更新迭代,使得诸如博物馆一类的公共文化场所的客流量不断攀升,文创产品作为吸引消费者、传播知识、展示历史的载体,对激发博物馆的发展活力有着重要的推动作用。民俗博物馆作为博物馆中的“小众”,一般以集中展示某个地域的生产生活习惯、民间习俗、民间手工技艺等为主要内容,是非物质文化遗产保护传承事业的生力军。相比主流的博物馆,在文创产业发展方面,民俗博物馆有一定的滞后性,     

Rehabilitating unauthorised touch or why museum visitors touch the exhibits

In 2014 The Senses and Society published a special issue on “Sensory Museology.” Registering the emergence of this new multi-disciplinary field, the editor usefully observed that “its most salient trend has been the rehabilitation of touch.” Arguably, however, touch has only been rehabilitated as an area of study insofar as it is authorised by the museum. Scholars have rarely considered the propensity of visitors to touch museum exhibits when they do not have permission to do so. In this article I suggest that the academic emphasis on authorised forms of contact privileges the institution’s aims and perspective. Conversely, researching unauthorised touch places a higher degree of emphasis on the visitors’ motivations and responses, and has the capacity to bring dominant characterisations of the museum into question. I substantiate and work through these claims by drawing on interview-based research conducted at the British Museum, and by investigating why visitors touch the exhibits without permission, what they touch, and what experiences that encounter enables.     

Family touch practices and learning experiences in the museum

ABSTRACT

This paper investigates how family museum visitors crafted learning through interaction with one another and the touch objects of an exhibition. Through a case study of seven families’ interaction, we show how families used touch to bring their interests and resources into dialogue with museum expectations and resources. Using a multimodal approach to analyze observational data, we generate a fine-grained account of differently configured family touch practices and ways of experiencing and knowing objects through their material, sensory tactile and affective qualities. We conclude by highlighting how our findings can inform the design of touch exhibits to support family learning, with attention to engagement, narrative creation, and embodied learning, and point to the paper’s methodological contribution to the analysis of visitor situated real-time interaction and learning in museums.     

The senses at the National Gallery: art as sensory recreation and regulation in Victorian England

ABSTRACT

In 1850, the keeper of the National Gallery in London described the museum as being frequented by “school boys eating bread and cheese” and country folk who “drew their chairs round and sat down, and seemed to make themselves very comfortable”. As for the pictures on the walls, these were smeared with the fingerprints of inquiring gallery-goers. The tension between the National Gallery as an unfussy place of recreation, in which visitors could enjoy themselves at their ease, and as a prim site of regulation, in which visitors must learn to exercise tight control over their behavior, played itself out in elite nineteenth-century debates over the role of the Gallery as a public space. This article examines nineteenth-century representations of the ideal sensory role of the National Gallery and its problematic actual sensory life. This leads into a discussion of the ways in which the National Gallery and other public art institutions were imagined to function as the soft fingertips of the long arm of the law, transforming social disorder into social order and destructive sensuality into compliant sensitivity.     

Making Sense through Touch

ABSTRACT

This article explores the role of touch in the creation of meaning for ethnographic museum collections. It presents a collaborative study conducted at the McCord Museum in which groups of Inuit elders were invited to share their knowledge and memories about objects of everyday life collected in the Canadian Arctic during the first half of the twentieth century. The aim of this research was to gather the elders' interpretations of ancient hunting equipment, sewing paraphernalia, household utensils, and personal ornaments in order to inform archaeological analyses of analogous artifacts from Nunavut. The article focuses on the methodology of the group discussions, in which participants were invited to handle the objects without constraint. These interactions generated various meanings for the objects: their fabrication and uses in the past, their contemporary value for the preservation and promotion of Inuit traditions, and their role in supporting the well-being of Inuit visitors at the museum.     

天津民办博物馆产业化发展的状况及对策研究

本文在研究天津民办博物馆产业化发展现状的基础上,针对天津民办博物馆产业化发展的问题,提出政府干预,民办博物馆经营和管理的产业化,以及开发多渠道营销是天津民办博物馆实施产业化发展的主要策略。     

北京什刹海地区中外游客抽样调查及分析

本文通过对北京什刹海地区的中外游客进行的抽样调查,应用统计软件SPSS对问卷结果进行了分析研究,得出了中外游客对什刹海地区不同的认知和旅游方式,并对该地区的旅游开发提出了建议。     

The reverse environmental gender gap in China: evidence from "The China Survey"

Objectives This article explores gender differences in attitudes about the seriousness of the environment as a problem in China using the “2008 China Survey.” Methods We use generalized ordered logit models to analyze survey respondents’ environmental attitudes. Results Our results indicate that there is indeed a “gender gap” in environmental attitudes in China, but the pattern is reversed from what has been generally found in previous work conducted in the United States and Europe. Chinese men, not women, show a greater concern about environmental problems and the seriousness of the environmental degradation in China. Further, we find that this gender gap is based largely in the substantial economic and educational differences between men and women in contemporary China. Conclusions This study emphasizes the mediating influence of socioeconomic variables in explaining gender attitudes toward the environment in China. Our findings suggest that in different contexts, women may be faced with difficult decisions between immediate economic necessities and long-term environmental concerns. The observed environmental gender gap in China will likely persist unless further economic development results in improved access to education and economic conditions for Chinese women.     

“两廊一圈”战略的优劣势之分析

“两廊一圈”战略的提出,是中越两国中期和长期经济合作的共同规划。“两廊一圈”是一个发展能力和地理战略潜力都很大的区域。这需要两国政府予以高度、全面、深刻而持久的关注,并通过具有优先性的实际行动计划体现出来。     

What's in the Drawer?

ABSTRACT

Much current museum theory and practice emphasizes the importance of storytelling and the inclusion of multiple perspectives in richly layered museum interpretations, with a key objective being the elicitation of empathy for the lives and personal interactions of people in other times and places. Yet in the process museum objects themselves can often appear to recede in significance, appearing as little more than illustrations rather than the complex, material entities they actually are. This article explores the power of objects and of active ways of discovering them, in the setting of the University of Oxford's Pitt Rivers Museum. Visitors can open glass-topped drawers underneath a number of the display cases and find themselves gazing on artifacts in storage: some with museum labels visible and legible, others not. This discovery of the objects is actively performed and, while objects cannot be removed for handling, facilitates their imagined, non-visual exploration. It is also a process in which, the article suggests, proprioception is of particular interest. Overall the drawers offer, the article submits, the possibility for variously pleasing, alienating, surprising, or reassuring encounters with the potential to enhance the museum experience.     

社会工作“案主自决”原则在中国本土实践中的困境

"案主自决"原则作为社会工作的一项核心原则,体现着社会工作的精神特质。在社会工作本土化工程中,"案主自决"原则的本土化将是至为关键的一环。中国大多数学者多将讨论重点长期停留在"本土化"这个大概念上,缺乏对社会工作具体理论、价值观、伦理和原则等的探讨。文章深入探讨了"案主自决"原则在中国本土实践中面临的挑战,从中国助人关系本身、儒家思想、集体主义和中国逻辑的实证性四个方面作了说明。