In the last 20 years the institution of the museum has gone through a period of redefining its role and its functions in society, its forms of representation, its authority in discourses on the past and its objects. The stated aim of many of the ‘memory museums’ which were established during this period is to invite reflection on the aestheticization of memory and on the fact that the exhibition is seen as a narrative which is challenging conventional codes of (...) perception. By granting a voice to what has been left out of the dominant discourses of history and of everyday experience, they try to integrate diversified and sometimes even incompatible narratives – a mode of representation that has so far been the domain of art and specifically literature. This contribution argues that it is not only between the museum and the memorial that distinctions between different memory media are getting blurred: examples such as Libeskind's Jewish Museum, which wants to be read as a text, and W.G. Sebald's novel Austerlitz, which he described as an alternative Holocaust museum, indicate that aspects of intermediality gain importance in the contemporary memorial landscape. (shrink)

In the last 20 years the institution of the museum has gone through a period of redefining its role and its functions in society, its forms of representation, its authority in discourses on the past and its objects. The stated aim of many of the ‘memory museums’ which were established during this period is to invite reflection on the aestheticization of memory and on the fact that the exhibition is seen as a narrative which is challenging conventional codes of (...) perception. By granting a voice to what has been left out of the dominant discourses of history and of everyday experience, they try to integrate diversified and sometimes even incompatible narratives – a mode of representation that has so far been the domain of art and specifically literature. This contribution argues that it is not only between the museum and the memorial that distinctions between different memory media are getting blurred: examples such as Libeskind's Jewish Museum, which wants to be read as a text, and W.G. Sebald's novel Austerlitz, which he described as an alternative Holocaust museum, indicate that aspects of intermediality gain importance in the contemporary memorial landscape. (shrink)

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...

The purpose of this study was to examine how elementary preservice teachers ( n = 35) experienced museums as potential sites for K-5 students to read museums using two lenses: to learn the history of the place in which they live and examine how museum authors craft texts to tell those stories. Along with exploring historical content, preservice teachers studied the museum as an informational text. Through this experience, preservice teachers discovered: 1) the five informational text (...) structures museum authors used to present information and 2) how museum authors conveyed contemporary and social issues using various forms of writing. Additionally, the museum experience provided a context in which the preservice teachers could engage in critical literacy practices. (shrink)

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

Die Sculpturen des Vaticanischen Museums, im Auftrage und unter Mitwirkung des kaiserlick deutschen archaeologischen Instituts beschrieben von Walter Amerlung. Berlin: In Kommission bei Georg Reimer. Vol. I., 1903; Vol. II., 1908. Text, 8vo, pp. x + 935, 768. Plates, 4to, 121 + 83. M. 50 per vol.Guida illustrata del Museo Nazionale di Napoli; approvata dal Ministero della Pubblica Istruzione. Compilata da D. Bassi, E. Gábrici, L. Mariani, O. Maruchhi, G. Patroni, G. de Petra, A. Sogliano; per cura di A. (...) Ruesch. Naples: Richter & Co.; Munich: Buchholz, 1908. 8vo. Pp. 500. 129 illustrations in the text. Lire 25. (shrink)

Journal of Chinese Philosophy, EarlyView.

Museums and collecting is now a major area of cultural studies. This selected group of key texts opens the investigation and appreciation of museum history. Edward Edwards, chief pioneer of municipal public libraries, chronicles the founders and early donors to the British Museum. Greenwood and Murray provide informative pictures of the early history of the museum movement. Sir William Flower, Director of the British Museum (Natural History), takes a pioneering philosophical approach to the sphere of natural (...) history in relation to museums. Similarly, Acland and Ruskin discuss and explore the relationships of art and architecture to museums. (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)

Museums’ structures, spaces, and exhibits are understood as semiotic resources that make spatial texts that communicate a discourse defined by the authorities of the museum or its curators. The current study follows a social-semiotic approach in analyzing the spatial discourse of the Children’s Museum in Amman. It demonstrates that interpersonal meanings are semiotically communicated to children visitors in the Museum by firstly establishing a “comfort-zone” and secondly by aligning children visitors into groups with shared qualities, attitudes, and (...) dispositions of affiliation and solidarity, and thirdly by providing abstract and material representations of the real world that encompasses participants, processes, events, and places. These interpersonal meanings produce a pedagogical discourse that semiotically addresses Jordan’s energy and water challenges, and that can “charge” the Museum’s role as a “Bonding Icon” that stands for shared communal ideals that Jordanians might identify with, or rally around. (shrink)

The main theme of this book is how newly excavated texts have provided new energy and perspectives to allow us to renew our understanding of ancient Chinese thought, especially that of Confucianism. Through an analysis of texts from the Guodian, Shanghai Museum, and other collections of excavated manuscripts, this book undertakes a wide-ranging analysis of Confucian thought in itself and also its influence on other trends of thought in ancient China. It focuses such topics as morality, virtue, and self-cultivation, (...) political philosophy, circumstance, and the relationship between human beings, others, and the natural world. It rethinks core Confucian concepts such as ren or "benevolence" and shendu or "maintaining one's moral nature" as well great Confucian notions on circumstance and political philosophy. This book also illustrates the influence that Confucian philosophy had during the Warring States period showing that elements of its moral philosophy informed the consciousness and behavior of state officials in such places as the state of Qin. Excavated texts are an inescapable part of Chinese philosophy, as such this book is invaluable to anyone wishing to understand ancient Chinese philosophy, Confucianism, and anyone interested in the interplay between material and intellectual culture. (shrink)

"In 2003 the Getty Museum, which holds a collection of about 240 Weston prints, hosted a colloquium on the photographer. This volume in the In Focus series records remarks by the author, Brett Abbott, along with those of six other participants: William Clift, Amy Conger, David Featherstone, Weston Naef, David Travis, and Jennifer Watts. Context for their conversation is provided by the author's introduction, plate texts, and chronology. Approximately fifty of Weston's images demonstrate why his work continues to resonate (...) with a contemporary public and serves as a model for a host of photographers active today."--BOOK JACKET. (shrink)

This chapter first analyzes two texts in the tradition of essays which associate museums with the notion of displacement: Moral Considerations on the Destination of Works of Art, by Quatremère de Quincy, and ‘The Origin of the Work of Art’, by Heidegger. Both authors claim that a work of art is not only a material object but also a centre of practices, values, beliefs, traditions, memories, and so on. I argue that, insofar as a work of art can be the (...) centre of this type of network in a museum, the description of art these authors propose defeats their own claims against museums. In the second part, I suggest that Heidegger's and Quatremère's descriptions of the role of art can be articulated with the help of Donald Davidson's understanding of the interconnection between the material world and human concepts. As Davidson sees it, things and people can only be described in relation to the other particular persons, objects, events and places they are connected to. From this perspective, the subjective, the objective and the intersubjective cannot be grasped independently. Museums stage this interconnection and can, therefore, be regarded as philosophical instruments that may help us describe things and, by extension, also ourselves. (shrink)

Excerpt from Le Texte de la Nouvelle Héloïse Et les Editions du Xviiie Siècle Notre étude précise, nous l'espérons, tout ce qui est essentiel sur la question. Elle n'a nullement la prétention d'ètre complète. Préliminaire à une édition critique et historique de la Nouvelle Héloïse qui ne saurait ètre achevée avant plusieurs années, elle pourra bénéficier de toutes les corrections et additions que la bienveillance des lecteurs et des bibliothécaires voudra bien faire parvenir à l'auteur. Nous apprendrons peut - ètre (...) ainsi s'il n'existe pas dans les collections privées quelques fragments des brouil Ions de la Nouvelle Héloïse, quelque exemplaire annoté et corrigé par Rousseau. Les bibliothèques inconnues de nous, nous indi queront peut - ètre des exemplaires complets des éditions dont nous n'avons pas trouvé tous les tomes ou les éditions que nous avons ignorées. Nos recherches n'ont pu porter que sur les biblio thèques publiques de Paris, celles de Genève et Neuchâtel, le British Museum, toutes les bibliothèques de Suisse et de France qui ont publié un catalogue, eny adjoignant celles de saint-omer et Toulouse, et quelques bibliothèques privées. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Die Sculpturen des Vaticanischen Museums, im Auftrage und unter Mitwirkung des kaiserlick deutschen archaeologischen Instituts beschrieben von Walter Amerlung. Berlin: In Kommission bei Georg Reimer. Vol. I., 1903; Vol. II., 1908. Text, 8vo, pp. x + 935, 768. Plates, 4to, 121 + 83. M. 50 per vol.Guida illustrata del Museo Nazionale di Napoli; approvata dal Ministero della Pubblica Istruzione. Compilata da D. Bassi, E. Gábrici, L. Mariani, O. Maruchhi, G. Patroni, G. de Petra, A. Sogliano; per cura di A. (...) Ruesch. Naples: Richter & Co.; Munich: Buchholz, 1908. 8vo. Pp. 500. 129 illustrations in the text. Lire 25. (shrink)

L'allégorie mystique Hay ben Yaqzân -- Les trois dernières sections de l'ouvrage al-Ishârât wa-t-Tanbîhât sur la doctrine Çoufique -- Le traité mystique at-Thair -- Traité sur l'amour -- Traité sur la nature de la prière -- Missive sur l'influence produite par la fréquentation des lieux saints et les prières qu'on y fait -- Traité sur la délivrance de la crainte de la mort -- Traité sur le destin.