D. Compaeetti, Leggi antiche delta città di Gortyna, Firenze, 1885 F. Bücheler and E. Zitelmann, Rheinisches Museum N. F. Bd. 40 J. and T. Baunack, Die Inschrift von Gortyn, Stuttgart, 1886H. Lewy, Stadtrecht von Gortyn, Berlin, 1885Museo Italiano di Antickità classiche, edited by D. Comparetti, Florence, 1885 sqq. Vols. i, ii.

This article reconsiders the historical and typological relation between Greek maturation rituals and Greek mystery religion. Particular attention is given to the word κλεινός (‘illustrious’) and its ritual uses in two roughly contemporary Late Classical sources: an Orphic-Bacchic funerary gold leaf from Hipponion in Magna Graecia and Ephorus’ account of a Cretan pederastic age-transition rite. In both contexts, κλεινός marks an elevated status conferred by initiation. (This usage finds antecedents in Alcman'sPartheneia.) Without positing direct development between puberty rites and mysteries, (...) the article argues on the basis of shared vocabulary and other ritual elements that age-transitions influenced the ideology of mystery cults. It is further claimed that puberty rites and mysteries performed similar functions in their respective social contexts, despite obvious differences of prestige and visibility. Age-transition rites have been analysed in Bourdieu's terms as ‘rites of institution’, in which young elites were publicly affirmed in civic roles: private mysteries can be described in analogous but opposed terms as rites of ‘counter-institution’, in which familiar ritual language and symbols of elite status were used to construct an alternative ‘imagined community’ of mystery initiates. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Museums in Transition:Thoughts from an EmpiricistSean UlmerIn March 2005 Daniel Siedell, curator of the Sheldon Memorial Art Gallery and Sculpture Garden at the University of Nebraska in Lincoln, approached me with an invitation to participate in a symposium for the Journal of Aesthetic Education that he was guest editing. He said that the symposium would be dedicated to curatorial and educational issues and suggested that each of the (...) contributors could use David Carrier's forthcoming book as a starting point for their essays. At that time, I did not know of Carrier's thoughts but had a number of thoughts myself on issues related to curatorial and educational strategies within the museum setting. My experience in a variety of positions in three—now four—institutions had provided me with a number of perspectives about different facets of the museum and its curatorial and educational missions.In Carrier's book, Museum Skepticism, released in May 2006, the author posits a number of thought-provoking observations regarding the birth, evolution, and decline of the museum. Tracing this development from the French Revolution and the opening of the Louvre, through the Isabel Stewart Gardner Museum, the Boston Museum of Fine Arts, Albert Barnes's collection and foundation/museum, and finally the J. Paul Getty Museum, Carrier looks at specific examples to support claims he makes in his intriguing opening and concluding chapters. While there are too many worthwhile observations to explore in great detail here, I will address some of the issues that piqued my interest, coming at the question from a different point of view, that of a working museum professional.Let me begin by stating that I am no theorist. Instead, I am an unapologetic pragmatist.1 My entire career has been shaped by actual work within a museum, seeing the institution—or "organism" as I usually refer to it—from a number of different vantage points.2 These varied experiences have given me the opportunity to see the museum—at least a Kunsthalle, two university museums, and a public museum—from several different vantage points. [End Page 4]In his introductory chapter, Carrier asks his primary question: "What is it like to lead the life of a work of art?"3 This is a very interesting question, and one with which many of us rarely consider in our day-to-day work within the museum's walls. In order to answer the question fully, Carrier suggests that "we need to understand museums."4 Indeed. In actuality, museums (and there are many different types) are just one component that must be considered. For a full consideration of the life of the work of art, one must start with the artist. What were his or her motivations? What was he or she trying to accomplish with the work? How was it first shown? In a gallery? In a museum show? How did the artist intend the work to be shown? What was the role of the patron or commissioner, if there was one? We know that the Catholic Church was an important originator of a number of great works of art and many were destined for church interiors, and some still are in situ. One cannot deny, however, that many of the world's great works of art ("great" simply deemed so by consensus) have found their way into museums. Museums are much more complex beasts than Carrier—or anyone for that matter—can cover within the confines of a single, publishable book. So many factors must be considered, especially when considering today's museums, as they continue to evolve and grow: the role of the collector, the patron, the board, the director, the curator, the education staff, the guards, and the public, to name just a few individuals who require consideration when analyzing museums. Such an interesting mixture of different individuals, each with a unique perspective (and agenda), coming together in one place makes for this complexity. And while the author uses this question of the life of a work of art as a starting point, he finds in the progress of the text a number of other stimulating and thoughtful observations. There is much more contained within... (shrink)

History in times of crisis is practical: future action depends on historical framing. Moving beyond “human scales” to include the evolutionary and the geological, and beyond humans to include other species, demands different approaches and new “archives” like ice-cores. This paper considers history in the Long Now, and particularly how museums and big public arts institutions develop new sorts of history through practical story-telling, taking seriously the notion that “the central role of museums [is] both an expression of (...) cultural identity and … a powerful force for human development and education.” The museum has a particular value as “slow media”, deepening news stories in times of rapid change. The new epoch of Earth, the Anthropocene, where humans have become a geological force, poses challenges for exhibitions, but also reshapes museums themselves. Crucial to managing stories, collections and objects in Anthropocene times is the capacity to change course, to remain open to new developments, using performances, events and “pop-up” exhibitions alongside traditional museum offerings. New Museology regards stories as the fundamental unit of museums. Thus, the curation of stories is central work. No longer are museums defined solely by objects: the artistic and the ephemeral are all part of story-telling. (shrink)

During the past thirty years, museums of all kinds have tried to become more responsive to the interests of a diverse public. With exhibitions becoming people-centered, idea-oriented, and contextualized, the boundaries between museums and the “real” world are eroding. Setting the transition from object-centered to story-centered exhibitions in a philosophical framework, Hilde S. Hein contends that glorifying the museum experience at the expense of objects deflects the museum's educative, ethical, and aesthetic roles. Referring to institutions ranging from art (...) museums to theme parks, she shows how deployment has replaced amassing as a goal and discusses how museums now actively shape and create values. (shrink)

박물관은 지금까지 주로 과거를 저장하고 전시하는 수동적인 공간으로 인식되어왔다. 따라서 박물관을 현재 그리고 미래와의 연관성 안에서 이해하는 연구는 부족한 실정이다. 특히, 박물관, 그 중에서도 추모 박물관들이 다수 존재함에도 불구하고, “두 번 다시는(Never Again)”의 메시지는 박물관 공간 안에서만 공허하게 울릴 뿐 전시된 과거의 끔찍했던 인권탄압은 전 세계적으로 반복되고 있다. 본 연구는 바로 이러한 추모 박물관의 과거와 현재 사이에 부재하는 연결고리에 집중하여 현대사회에서 박물관이 어떻게 소비되고 있는지 논의하고, 이를 통해 박물관 분석에 관한 새로운 접근방식을 모색하고자 한다.BR과거를 전시하는 박물관을 현재에 위치시키기 위해 본 (...) 연구는 과거와 현재의 다리 역할을 하는 방문자들의 경험을 쫓아 박물관을 탐색한다. 기존 박물관 연구는 전시와 그 전시를 기획한 배경 그리고 인물들에 관심을 집중한 반면 방문객들의 경험에 대해서는 무관심한 경향이 있다. 따라서 현재를 살고 있는 방문객들이 과거의 공간인 박물관을 어떻게 경험하는지 살핌으로서 과거에 머물러 있던 박물관에 대한 논의를 확장하여 현대사회에서 박물관이 어떠한 위치에 있으며 영향을 주는지 살펴보고자 한다. 다시 말해, 지금까지의 박물관 연구가 박물관 자체에 머물러 있었다면, 본 연구는 사회라는 넓은 틀 안에서 박물관의 역할을 분석함으로써 박물관에 대한 논의를 확대시키고자 하며 이를 통해 박물관의 사회적 역할을 재조명하려고 한다.BR이를 위해 추모 박물관은 두 갈래로 논의된다. 첫 번째로, 보드리야르(Jean Baudrillard)의 시뮬라크럼(Simulacrum) 이론을 통해 박물관 전시와 방문객들의 경험을 분석하고, 그의 현대 소비사회에 대한 이론을 바탕으로 추모 박물관이 소비사회 중심에 살고 있는 방문객들에 의해 어떻게 즐겁게 소비되고 있는지 논의한다. 두 번째로, 사라 아메드(Sara Ahmed)의 행복함(Happiness)에 대한 이론을 통해 추모 박물관이 어떻게 인권유린의 역사를 해피엔딩이라는 “완벽한 결말”로 왜곡시킴으로서 현재까지 지속되고 있는 사회갈등을 의도치 않게 감추는지 논의한다. (shrink)

This chapter delves into the museological side of ‘the way forward’ to conservation for planetary health bioethics. Specifically, it highlights the crucial role that museums play – their curatorial or exhibition interventions, conservation operations, development policies, or practices – which present or represent the vital relationship between human and planetary health. While it is not new to stress the significance of museums’ link to the environment and environmental education, it is necessary to re-examine recent cases in light of (...) the rapid changes brought about by climate change and the constant call for sustainability. We thus offer a review of some recent literature that appraises the museum’s role in bioethically considering the health of our living planet. Learning this role taps into relatively new themes such as ecomuseums and architectural heritage, or critical eco-museology. (shrink)

In 2020, TICCIH published its thematic study on oil heritage, the first global assessment of the heritage of petroleum production and the oil industry, and of the places, structures, sites, and landscapes that might be conserved for their historical, technical, social, or architectural attributes. In many cases, the petroleum production sites and historical infrastructures, situated in corrosive and fragile landscapes, are costly to conserve, challenging to re-use, and pre-function considering their contribution to climate change. TICCIH also included the proposals for (...) criteria to evaluate this heritage and priorities for conserving the most important sites, ensembles, and landscapes, from regional inventories up to World Heritage sites. In this report, the heritage of the petroleum industry is defined as ‘the most significant fixed, tangible evidence for the discovery, exploitation, production, and consumption of petroleum products and their impact on human and natural landscapes’. While the importance of the historical evidence for the oil industry as a tangible cultural heritage is self-evident, it is also challenging to define an integrated and holistic strategy from a conversation point of view. For achieving holistic and methodological re-use strategies, it is required to reconsider various factors such as national policies and economic systems. (shrink)

Those who have attended any Hegel congress in Stuttgart in the past may remember disappointment on seeing the house in which Hegel was born. I well remember my own embarrassment, a few years ago, taking a group of Italians to the 400 years-old house at No. 53 Eberhardstraße. We found nothing to remind us of the philosopher but a miserable plaque. Worse, the ground floor of the building was apparently occupied by a firm specializing in bathroom equipment. This sad and (...) unsatisfactory situation was all the more surprising, given that this house was among the few old buildings not destroyed during World War II. (shrink)

Public education in museums has the interdisciplinary nature of STEAM education contemporary learning. In the contemporary learning process of the public, digital museums can rely on mobile terminals to provide people with opportunities for mobile learning. Especially since the global outbreak of COVID-19, many offline museums have been forced to close their doors or impose restrictions. How to use digital museums to better carry out the learning experience of visitors is a problem worthy of attention. Effective (...) dissemination of visual information can help digital museums conduct educational activities more efficiently. The purpose of this study was to explore a research method for visual evaluation of visitors’ learning experiences in digital museums. The visual evaluation of visitors in the digital museum learning experience involves the layout of exhibition content, the form of exhibition space, and the way of display of exhibits. Through eye-tracking engineering experiments, we obtain and analyze the visual data of visitors during the educational experience of the digital museum to form an accurate evaluation. This method can be used to assess the visual satisfaction of visitors with the educational experience of a digital museum in mobile learning. This kind of evaluation research can provide strong data support and design optimization direction guidance for the development of digital museum public education. (shrink)

The stage-like “exhibitionary space,” which members of the public visit, has received more scholarly scrutiny than the pedagogical and curatorial activities that take place in the back rooms of museums. This essay draws attention to the behind-the-scenes places in university museums as a pedagogic site where students learn through the close examination of artefacts. It addresses the social context of learning through the study of incomplete objects, which may involve handling them. This process of using artefacts to engage (...) with different groups of people (collectors, curators, teaching staff and students) contributes to the physical and intellectual development of academic disciplines. It enhances the museum's institutional mission and survival as an incorporated body that is embedded in a greater whole, the university itself. The Ashmolean Museum, in the University of Oxford, and the Balfourian and Sibbaldian Museums, in the University of Edinburgh, were founded in the seventeenth century. But whereas the Ashmolean survived as an institution, the first Edinburgh collections did not. These historical antecedents serve as a backdrop to a discussion of how one particular example, the Cambridge Museum of Archaeology and Anthropology (CUMAA), trains new generations of learners to evaluate empirical evidence and by working with different communities of users—students and the wider public—it ensures its survival. (shrink)

Exlibris der Ägyptenrezeption und Ägyptomanie: Zur Sammlung des Gutenberg-Museums in Mainz. By Kirsten Konrad. Philippika, vol. 90. Wiesbaden: Harrassowitz Verlag, 2015. Pp. 488, illus. €78.

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

In a commercialised and globalised China, museum institutions are pivotal elements in public strategies to present and create national self‐consciousness, insofar as their vast collections provide symbols of cultural identification on a national as well as an international level. This article will explore Chinese public museum policy and impact, firstly by describing the current status of the system as background information; secondly, by presenting the most recent trends in museum strategies and finally, by replacing the challenges and complexities of the (...) museum system in a broader context. The analysis will draw from first hand material from interviews and informal conversations with museum professionals, small‐scale visitor surveys as well as the most recent facts and figures, and it will be illustrated by examples and supported by secondary sources. (shrink)

These two books challenge museums--the predominant and continually evolving institutions of art delivery--in order to uncover and expose the rampant political biases and hidden strategies that their founders, administrators, and boards of trustees have utilized in order to maintain the preferred status quo of predominantly white male power.

An archive is a repository - that is, a place or space in which materials of historic interest or social significance are stored and ordered. A national archive is the storing and ordering place of the collective memory of that nation or people(s). This article provides a brief his torical/theoretical introduction to the politics of the archive in late capi talist societies and discusses this politics of memory via the performance of ordinary daily activities of librarians and archivists. Some relevant (...) political/discursive questions include: who controls, establishes and maintains the archive, and how do they do so? Which materials are preserved in the archive and which are excluded? As the documents and artifacts selected for the archive are ordered and classi fied, how do the schemas and structures applied include, exclude, fore ground or marginalize those materials? Finally, to what extent do the logical hierarchies for classification and arrangement reflect social or political hierarchies? Librarians and archivists face these concerns in HISTORY OF THE HUMAN SCIENCES Vol. 11 No. 4 © 1998 SAGE Publications (London, Thousand Oaks and New Delhi) [0952-6951(199811)11:4;17-32; 006604]their professional practice as they make decisions influenced by budgets, finite amounts of both physical and computer storage space and limited staff resources. The authors give real-life examples of choices made as archivists struggle to balance ideological goals made contradictory by practical constraints. For example, is it more appro priate to acquire as many materials as possible but be unable to describe, preserve and present them adequately, or is it preferable to describe, preserve and make fully available a more limited range of records and documents? Because of such practical concerns in modern technicist cultures, the explicitly political who often is reduced to the technically instrumental how - that is, political-moral questions are displaced to nonmoral and nonpolitical technical discourse, thereby establishing a 'meta-politics' that is understood only by the initiated. Conversely, archival activities such as acquisition, classification and preservation are 'technical' activi ties that may become explicitly 'political'. The article concludes that technical activities always are political, at least latently or potentially, even when they are not contested and made explicitly political. (shrink)

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

1891. The recovered manuscript of Aristotle's Constitutional History of Athens, now for the first time given to the world from the unique text in the British...

This paper explores the process from museumization to decolonization through an examination of a Haida eagle mask currently on display in the Exploring Medicine gallery at the Science Museum in London. While elements of this discussion are well developed in some disciplines, such as Indigenous studies, anthropology and museum and heritage studies, this paper approaches the topic through the history of science, where decolonization and global perspectives are still gaining momentum. The aim therefore is to offer some opening perspectives and (...) methods on how historians of science can use the ideas and approaches relating to decolonization in other fields, and apply them constructively to the history of science, particularly in museum settings. Decolonization is a complicated process and the focus of this paper is squarely on the preliminary steps of its implementation. To understand this process fully, the paper will recontextualize the Indigenous history of the Haida eagle mask at the Science Museum through a careful reconstruction of its provenance record. Through this process it will expose the politics of erasure and hidden voices in museum collections. (shrink)

We tested whether analogical training could help children learn a key principle of elementary engineering—namely, the use of a diagonal brace to stabilize a structure. The context for this learning was a construction activity at the Chicago Children's Museum, in which children and their families build a model skyscraper together. The results indicate that even a single brief analogical comparison can confer insight. The results also reveal conditions that support analogical learning.