Inside the Museum: Nothing is going to change? Adaptation of the Jewish Pre-Burial House in Gliwice

This article discusses the architectural conversion of the historical Gliwice Pre-Burial House into the Museum of Upper Silesian Jews. It describes the former function of the building in the context of the specific history of Upper Silesian Jews, the Haskalah movement, and funeral rites in Judaism. The main part of the paper is devoted to the presentation of the architectural design and the functional division of the planned museum as proposed by the architectural collective that the author is part of. Special attention is given to a discussion of the conceptual framework of the design which tries to reveal the continuity of unformatted architectural memory. The features of proposed design, such as the central installation of The Cloud, merge commemorative aspects with new functions related to hosting public events and historical display. In this way, the design negotiates between remembrance of the Jewish community and the needs of the new inhabitants and users of the space. Thus, the paper contributes to the larger discussion about the adaptation of former Jewish facilities for new public functions.     

上海市行业博物馆建设:意义、现状及其存在问题思考

博物馆是一个城市发展的象征和文化建设的重要标志 ,也是都市旅游业发展的重要依托。结合过去几年上海市行业博物馆建设的实践 ,上海市行业博物馆建设有三个方面的问题值得进行探讨 :行业博物馆建设对上海具有怎样的重要意义 ;上海市行业博物馆建设实践的现状 ;上海市行业博物馆建设中存在的问题和面临的困难。本文总结和反思了上海市行业博物馆建设的经验教训 ,并提出初步的对策建议     

论博物馆陈列展览的教育审美作用

博物馆陈列展览必须达到真实可信、独特新颖、诚挚深沉、含蓄蕴藉 ,才能充分发挥其审美教育作用     

传译民族文化与平等——吴泽霖先生的民族博物馆思想

吴泽霖先生1950年代初任职于西南民族学院,为该院民族文物的搜集与博物馆建设起到了奠基性作用。吴先生早年从社会学研究转向民族学研究,并专门致力于中国的民族博物馆事业的发展,其博物馆学术活动具有双重的意旨,既有传译文化、教育民众、实现民族团结的现实考虑,又有创建民族学＂实验室＂,将民族博物馆回归学科框架的学术诉求。纵观其学术发展脉络,可以说吴泽霖的民族博物馆思想是对其早期学术关怀——即种族平等问题的延续。     

建立中国傩戏傩面具博物馆的评估——张家界建立中国土家族傩戏傩面具博物馆的可行性调查

傩是中国古代驱鬼逐疫的宗教仪式,滥觞于史前,盛行于商周, 历代都有不同程度的变化,延续至今已数千年。傩戏是傩文化的载体, 面具是傩戏艺术的重要特征。傩戏誉称为中国戏剧文化的活化石, 有丰富的文化内涵和多学科的学术价值, 为中华传统文化之瑰宝。大量资料显示,我国包括传统工艺、民族艺术等在内的民族民间文化遗产, 正面临后继无人、管理混乱和大量流失的严峻形势, 建立中国傩戏傩面具博物馆十分必要和紧迫。在大量调查研究的基础上, 对博物馆的建立进行了全面评估, 对可行性进行了充分论证。     

广灵秧歌生态环境考察及启示

秧歌戏与扭秧歌并非同一艺术样式。作为省、市两级非遗保护项目,广灵秧歌目前的生存环境并不乐观,仍有成为"博物馆艺术"的危险。自上而下的文化体制改革,并未有效地改善广灵秧歌当下面临的濒危态势。对待诸如广灵秧歌这类传统文化的态度如何,才是更为内在也是更为本质的关键所在。     

文化发展战略中博物馆的思考

博物馆在城市文化发展战略中具有担当城市历史记忆、体现城市人文精神、展示城市生态文明的时代功能。可以从点面结合规划、加强县级博物馆建设、融集社会资源、依靠社会力量等方面入手,加快发展连云港市的博物馆事业,为人民提供更多、更好的文化服务场所。     

民族博物馆的价值取向探讨

博物馆始终是一个地区乃至一个国家文化水平和文明程度的重要窗口。民族博物馆的价值理念应当参照国际博协的价值体系,肩负起奉献观众通俗高雅民族文化的社会责任,为和谐社会构建做出贡献。民族博物馆要服务和促进国家文化软实力的形成,成为普及和提高大众精神文化的场所,民族博物馆的陈列展预示着博物馆的价值追求。     

上博楚竹书散论

按有关文献材料,上博简《孔子诗论》中“(言虫虫)”当读为“谗”;“(方心)”读为“谤”;“改”可读为“妃”、“(臣巳女)”,匹配之意。简一五“及其人”之上,当补以“思”字。“覃”字从“寻”、从“由”,两者皆为声符。     

Body of knowledge: Sunderland Museum and Art Gallery and the blind imagination

ABSTRACT

This article examines the cultural and philosophical intersection between visual and tactile knowledge and the emergent aesthetics of modernism. In the September 1913 edition of The Museums Journal, J. A. Charlton Deas published a paper entitled “The Showing of Museums and Art Galleries to the Blind.” The text, exceptional in its historical context, complicated prevailing assumptions about acts of “visual” art and blindness. Deas details a series of experiments undertaken at Sunderland Museum and Art Gallery from 1906 to 1913 that consisted of making accessible exhibits, specimens and paintings for blind children to touch. Unprecedented at the time, these experiments recast the persistent Western belief that the eye has privileged access to knowledge, instead asserting that knowledge is embedded within material corporeality. The physical, creative and intellectual inclusion of blind people into the formerly inaccessible space of the museum was unique in its reach and offers a refreshing new perspective of what those (authoritatively visual) spaces could be. Sunderland, a region which tends to be discursively separated from the ambitions and experiments of modernism, was at the center of modernist discussions about knowledge, sight and touch; and, disrupts modernism’s silence with respect to acknowledging unprecedented regional developments such as those detailed in “Showing.”