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On February 16, 2024, the North American chapter of the Pacific Arts Association hosted a panel at the 112th College Art Association (CAA) Annual Conference in Chicago. Chaired by Sylvia Cockburn (Andrew W. Mellon Postdoctoral Curatorial Fellow) and Maggie Wander (senior research associate) from the Metropolitan Museum of Art, this roundtable invited Halena Kapuni-Reynolds, associate curator of Native Hawaiian history and culture at the Smithsonian Institution’s National Museum of the American Indian (NMAI), and Ingrid Ahlgren, curator for Oceanic collections at the Peabody Museum of Archaeology and Ethnology at Harvard University, to share updates on their current projects and discuss critical issues in Oceanic art curation. The discussion centered on community engagement and critical methodologies grounded in Pacific epistemologies, the ethical and sociopolitical issues around museum collection and display, how to engage with different audiences (especially in the settler colonial context of North America), and how to collaborate across institutions.

The roots of Turkish Museology are based on the Mecma-ı Asar-ı Atika (Collection of Ancient Artifacts), which forms the foundation of the Istanbul Archaeology Museums. In 1845, during a visit to Yalova, Sultan Abdülmecit decided to transfer Eastern Roman inscriptions to Istanbul after seeing them, leading to the collection of artifacts in Hagia Irene, which had been used as an old weapons depot until then. The museum was organized into two sections: Mecmai Eslihai Atika and Mecma-i Asar-ı Atika. The former, dating back to earlier periods, laid the groundwork for the Harbiye Military Museum. The Mecma-i Asar-ı Atika collection was curated during the tenure of Grand Vizier Ali Pasha and established as the Ottoman Empire's first museum in 1869 under the name "Müze-i Hûmayun" by the Minister of Education Saffet Pasha. Edward Goold, a teacher from Galatasaray High School, was appointed as the museum's first director in the same year. A decree was issued instructing provinces to send historical artifacts to the museum without damaging them, and the Asarı Atika Regulations came into effect within the same year. As the number of collected artifacts increased, a search for a new building commenced, leading to the decision to move the museum to the Tiled Kiosk. The museum, relocated to the Tiled Kiosk, became operational in 1880. Following the death of Museum Director Anton Dethier, the search for a new director began. Osman Hamdi Bey, who holds a significant place in Turkish Museology history, was appointed to this position on September 11, 1881. During that period, there was a lack of regulations to prevent individuals from abroad engaging in archaeological excavations and potentially looting archaeological sites. Therefore, the Asar-ı Atika regulations were issued to control and register excavations. [ABSTRACT FROM AUTHOR]

Museums operate and communicate ethically, professionally, and with the participation of their constituents, offering varied experiences for edutaintment and knowledge sharing. Today's museums ensure relevance in national and universal development by considering, first and foremost, educational functions. Museums work in harmony with people in both neighboring areas and farther surroundings to create a participatory system under the guidance of cultural, environmental, ecological, and economic indicators and to develop heritage. The Ankara Veterinary Anatomy Museum (AVAM), provides regular education and outreach activities. Preparations of the anatomical specimens for education and exhibition purposes began with the establishment of the Chair of Anatomy. AVAM aims to be a scientific reference environment for postgraduate students, and researchers, but also a space for the public. This article evaluates the AVAM's major educational programs and includes the opinions and suggestions of undergraduate students working as educators in the museum about the validity of these programs. [ABSTRACT FROM AUTHOR]

Doll Lottchen is an example of a museum object that has changed its nature and functions throughout its lifespan, so it can be described as a toy and as a comfort object, but also as a symbolic item of personal childhood and national identity, and a delicate museum object with restrictions in use. Doll Lottchen belonged to Anne, who was given it as a gift in 1947, during a film shooting in Saint Petersburg (then Leningrad) by the host of a local family, when she was four years old. She found the little smiling doll lovely and called her Lottchen. Anne believed that the doll was produced in Germany and was probably taken as a trophy by some Soviet soldier at the end of the Second World War, but the moulded mark shows that the doll was made in Okhta factory in Russia. Its origin is still unclear as Rheinische Gummi- und Celluloidfabrik in Germany indeed launched a similar doll called Mädi between 1930 and 1957. The Okhta factory used German moulds in the 1930s and 1940s. Sometimes detecting the history of the previous usage of a museum object needs effort and time; for Lottchen the material was collected within eight months of communication with the donator. As Lottchen was an affective object or sensitive object (Frykman and Frykman) there are various memories about it. Anne describes three dramatic episodes from her childhood, during which the doll was either temporarily lost or broken by a dog. At the age of ten the life story of Anne and the story of her favourite doll intersected. Accidentally Anne learned from a tipsy neighbour that she was actually a “German girl”. During two years, when she kept this shocking information a secret and made a new costume for the doll, her doll Lottchen acquired a new meaning. When Anne became 12, it was revealed that she had been rescued by her Estonian stepmother from Königsberg in 1946. By then the city had been destroyed by the allies and occupied by the Soviet forces; thousands of civilians had died of diseases and starvation. Anne was three and a half, her biological family had lost the father and two other children, and little Roswitha Anne Browarzyck (her actual name) was very fragile, with her feet swollen from hunger. Miraculously escaped to Estonia with her future stepmother, she had to hide her East-Prussian origin and was not allowed to speak German. So she quickly forgot her real identity. When finally donating the doll to the museum, Anne sent her off with the following words of farewell: “May you, dear Lottchen, have many good friends and excitement on every day at the toy museum! Maybe I’ll come to see you sometime! Hugs, your Rose (that’s how I was called at home).” As toy museums tend to be places of childhood nostalgy and the Tartu Toy Museum is no exception, there are some dilemmas about dealing with this kind of objects. As they are made of hazardous and fragile celluloid, the best way to preserve them is to keep them in controlled conditions in the repository. Today doll Lottchen is kept this way. However, as a modern museum would like to exhibit its items and share its collections with visitors, there are ethical questions of how to organise it. It is argued whether the happy-faced doll could be displayed in a showcase together with other celluloid dolls without any explanations, to follow the toy museum’s current policy to keep any war themes or sensitive topics of children’s life as silent as possible. Or should toy museums take a more active part in highlighting uneasy topics and white spots in history? Today the world is dangerous and the ongoing war in Ukraine raises questions about war, forcing parents to find ways to answer them. By means of historical stories about toys and children to whom they belonged, museums could contribute to this task. It seems that the best way could be to conduct visitor´s research among children and adults both through surveys and observations. In this way it could be possible to find out what is preferred and whether and how to deal with difficult topics through temporary exhibitions, events or museum education.

Griselda Pollock, author of the seminal book Vision and Difference (1988), is among the most influential voices of critical reflection on the representation and presence of women in art and in its history. Her rigorous research path through the practices and institutions of art which in the museum has found a place for confrontation and verification for a thought that declares itself to be "feminist" and "situated”. Encounters on the Virtual feminist museum (2007) is a complex cartography of the extensive investigation that Pollock has been conducting for years on the museum institution and its dynamics of exclusion and integration, on the processes of fetishization and the construction of memory that affect art of women, a critical itinerary that also crosses the question of the archive and the figure of the atlas. It is in the light of this theoretical framework that Pollock then analyzed the reception of the artists' work and their museum destiny in individual cases: The missing future: Moma and modern women, published in the collective volume Modern Women. Women Artists at the Museum of Modern Art (2010), follows that setting, for instance. The essay aims to analyze the theoretical knots of Griselda Pollock's feminist museological reflection and its influence on the debate that today affects the social role and the ethical, as well as cultural, value of the museum.

Copyright of Geomatik is the property of Murat Yakar and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkish Journal of Social Research / Turkiye Sosyal Arastirmalar Dergisi is the property of Turkish Journal of Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article deals with the scientific biography and achievements of Olena Dmytrivna Ohnieva, a leading researcher of Tibetan civilisation in Ukraine. Ohnieva continued the scientific work of her famous teachers B. I. Kuznetsov, B. I. Pankratov, and G. M. Bongard-Levin, the representatives of the Soviet Tibetan school of Leningrad and Moscow in the second half of the 20th century. She conducted research in the field of textual studies and art history, proving the need for a comprehensive study of the iconographic and iconometric foundations of religious painting in Tibet on the basis of classical texts. Ohnieva has developed her own style of studying and reading the subjects of Tibetan thangka paintings that contain many symbols, knowledge and information about the painting tradition, Buddhism, history and ethnicity of Tibet. Armed with this knowledge and methods, she was able to research and provide detailed descriptions of numerous works of fine art from Central Asia, not only of Tibetan origin, but also the art of regions that were influenced by Tibet through the spread of Buddhism. She researched the biographies of famous religious figures of medieval Tibet who laid the foundations of traditional painting theory. During different periods of her life, she also acted as a translator and researcher of Tibetan religious texts, and proved herself to be a populariser of Tibetan culture. For more than a quarter of a century Ohnieva had been working on search and description of original Tibetan materials in Ukrainian museums. Thus she made an invaluable contribution to the development of oriental studies in Ukraine. Her studies of museum collections became basis for organising exhibitions that had granted many people the opportunity to get acquainted with the tradition of Tibetan Buddhism and the culture of the peoples of Asia. [ABSTRACT FROM AUTHOR]

Background: In 2022, the lost manuscript by Canadian designer and painter Harley Parker (1915–1992), The Culture Box: Museums Are Today, in which he envisions museums as multisensory experiences, was found among his belongings. Analysis: This Research in Brief looks at Parker's contributions to museum exhibition design, both in The Culture Box and throughout his career. Conclusion and implications: By focusing on the role of the designer-communicator, Parker advanced a sensory museology ahead of its time, and, in collaboration with Marshall McLuhan, decoded the characteristics of the museum understood as a medium in terms of how it orchestrates sensory experiences. [ABSTRACT FROM AUTHOR]

In 1935, Librarian John E. Abbott of the Museum of Modern Art wrote this of the contemporary status of film preservation: "the situation is as though there existed a great interest in painting on the part of the public, but that almost no painting were ever exhibited save those executed within the previous twelve months." In the early twentieth century, film collections were not sought after by museums, because the relevance of film to museum mandates had not yet been defined. In this paper, we refer to the creation of some of the first museum film libraries and archives, in order to examine the effort of their establishment within a museum, and the philosophical challenges and appeals that must be addressed when these mediums meet, in the interplay between archival and museological theory. We shall briefly review the beginning of film museums, and then discuss where the nature and priorities of museums most affected these pioneering film libraries and archives. These influences manifest in the rationale of why films should be collected, in the details of what should be acquired, and in the practical and philosophical challenges that are not commonly found in other information institutions, but are characteristic of museum work. [ABSTRACT FROM AUTHOR]

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social & Education History / Historia Social y de la Educación is the property of Social & Education History / Historia Social y de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Museologia e Patrimônio is the property of Museologia e Patrimonio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Museologia e Patrimônio is the property of Museologia e Patrimonio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sul finire dell’Ottocento, a Monza, le amministrazioni comunali discussero a lungo della possibilità di inaugurare un Museo patrio simile a quelli già aperti al pubblico in altre città lombarde. Nucleo fondativo era un insieme di testimonianze archeologiche cedute da generosi privati oppure relative a rinvenimenti occasionali del territorio. Nondimeno, il progetto non andò mai in porto e solo nel 1935 si ebbe la fondazione dei Musei civici monzesi. Il contributo intende esaminare per la prima volta le probabili ragioni del falli­mento ottocentesco grazie alla documentazione conservata presso l’Archivio Storico del Comune di Monza. By the end of the 19th century, the creation of a city museum in Monza was discussed at length, after similar museums had already been opened to the public in other Lombard towns. The core collection contained archeological evidence both donated by individuals or found in the neighbouring area. Despite the town council’s efforts, this important project did not come to fruition until 1935, when the Civic Museums of Monza were officially established. This paper aims to take a deep dive into the reasons for the initial failure of the ambitious plan, drawing from the documentation kept at the Historical Archive of the city of Monza.

Against the background of museological theory, this paper questions new trends in current museum exhibition displays, focusing on universities as institutions of higher education and as preservers of cultural heritage. The first part of this paper provides an overview of university heritage, its scale and scope and the labels of heritagisation that can be linked to it. In the second part of the paper, select examples of university exhibitions are introduced – each of which dealing with a specific university heritage. These examples are all part of the Coimbra Group network of universities, which includes some of the oldest universities in Europe. The exhibitions are analysed in terms of their forms of presentation, the way in which they deal with objects as evidence for university history and the communication modes they use.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study explores the role of church museums represented by the Tsinanfu Institute in the spread of Christianity in modern China. Established in 1887, Tsinanfu Institute, formerly Tsingchowfu Museum, stands as an early pioneer of church museums in China with the mission of spreading Christianity. It has taken exhibition and knowledge dissemination and social education as its core functions, indirect evangelization and expansion of religious influence as its fundamental purpose, and the Chinese way of localization and the promotion of harmonious relations with the community as its important working guidelines. It has established a new operational concept as a "public cultural museum", realizing the transformation of the church museum from a missionary venue for the intellectuals to a new type of missionary venue for the general public. The development stages of the church museum operational concept represented by Tsinanfu Institute are mainly socialization, education, localization, and the popularization of higher education, which is a microcosm of the development trend of the Christian Endeavour Movement, Social Gospel, and vernacularization thought. Tsinanfu Institute shows significant research value in studying new missionary concepts and exploring the new way of missionary work in the church during the late 19th and early 20th centuries. [ABSTRACT FROM AUTHOR]

This study investigates the potential of integrating multilayer animations and sophisticated shader technologies to enhance visitor social interactions within metaverse exhibition spaces. It is part of a broader initiative aimed at developing innovative digital museology strategies that foster social engagement through virtual reality (VR) experiences. The methodology adopted seeks to provide a more immersive and human-centric exploration of 3D digital environments by blending elements of physical spaces with the interactive dynamics common in video games. A virtual exhibition space themed around Mars was created as a testbed to facilitate social interactions among users, who navigate the environment via avatars. This digital space was developed using a specialized Unity template designed by the metaverse platform Spatial.io. Overcoming the programming constraints imposed by Spatial.io, which limits the use of external scripts for security and stability, posed a significant challenge. Nonetheless, by leveraging the ability to modify shader codes used for material creation and employing advanced animation techniques with layered effects, the authors of this work achieved dynamic material responses to lighting changes and initiated complex asset interactions beyond simple linear animations. [ABSTRACT FROM AUTHOR]

Copyright of Revista del Museo de Antropología is the property of Museo de Antropologia - IDACOR and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Maetagused is the property of Estonian Literary Museum, Department of Folkloristics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article takes its point of departure in an experiment conducted at Randers Art Museum, Denmark, in which museum visitors were asked to comment on their experiences with artworks from the museum's collection. Their comments that were subsequently shared by the museum in the exhibition space. By examining dialogue as a form of participation, the author analyses and discusses how this particular participatory experiment created a dialogical and polyphonic museum experience in which the institutional voice was complemented and even challenged. The article contributes to the field of research on participation by connecting theoretical and practical levels through an experimental methodological approach. It presents concrete recommendations for enhancing visitor-oriented and dialogical strategies in museum communication. Moreover, it demonstrates that the experimental approach can be very useful for both researchers and museum professionals, as long as they reflect on both the limitations and the possibilities of specific experiments like this one. [ABSTRACT FROM AUTHOR]

The study analyzes and examines the Museu particular, project of 2021 that set out to turn everyday objects into museum pieces, thus making us appreciate more the heritage around us while acknowledging the role it plays in our lives. The analysis used a methodological model of evaluation with participative strategies. Semi-structured interviews with a range of professionals from the cultural heritage and museum sector provided opinions and feedback on the project. Consequently, it has been possible to establish the characteristics of the project, highlight its successes and identify areas for improvement in its aim to fully reach its target audience. Furthermore, at a time when the role of museums is in transition, this project has studied the notion of self-representation in exhibitions as well as how the digital environment can act as a space for creation, didactics, education and exhibition for cultural institutions.

Este artículo explica cómo se fue conformando un proyecto de recuperación del patrimonio educativo material e inmaterial en la Comarca del Maestrazgo (Teruel). Las prácticas de la museología social, la recuperación de la memoria de alumnos y profesores, el trabajo de archivo, la transferencia de conocimiento académico han permitido impulsarlo con siete escuelas recreadas en la actualidad. Todo ello aspirando constantemente a la implicación de las comunidades no como receptores pasivos del conocimiento sino como motor de esta iniciativa.

The study deals with the question, what is a small museum and what are its specifics compared to other museums. Based on available foreign and local sources, it summarizes the current state of research which is largely focused on searching for the consensus on how to clearly define this type of museums. The study is based on the published results of key research in the past twenty years, it outlines selected approaches to the characteristics of a small museum and summarizes its typical features. Analogously, it looks at the state of research in the Czech museum sphere, where the topic of small museums has been repeatedly opened, examined and debated from different perspectives of professional activities and professions in a small museum. The study raises the question of how to effectively build on this state of research and develop it further within the Czech Republic, where this type of museums seems to be insufficiently mapped so far.

During colonial times, dioramas were commonly used to portray the diverse peoples of India. They depicted essentialised human types through plaster models in rural settings, engaged in typical activities, and dated back to the exhibition of human beings in universal expositions held in Calcutta, Delhi and London. Since Independence, there have been determined efforts to move away from colonial stereotypes and to decolonise government-funded museums in India. Meanwhile, Adivasi artists are finding their own way out of the curatorial confines of the museum. This paper describes how Indian museology still struggles to exorcise the ghosts of the Victorian museum and India's own internal colonialism. [ABSTRACT FROM AUTHOR]

Climate changes in every social sector, every web of life, radical change is occurring, and we all have to find ways to relate to such fundamental transformation. In this paper, we explore how museums can engage with environmental changes and concerns in new ways. By understanding how the power of time operates, one can make visible temporal connections between human and more-than-human agencies, control and negligence and its consequences. The paper explores the huge potential of museum exhibitions to open up various temporal relations, crucial both for witnessing, learning and un-learning the human impact on the world. Time is one of the museum's most important dimensions and the effects of recognizing other temporalities rather than the prevailing anthropocentric ones – become profound. We have selected one particular exhibition to work with: '500 years of Monarchical Power' at the Royal Armory in Stockholm to explore how temporal relations are produced and maintained in this exhibition. The starting point is that time is not only something measured but also made, which opens up for analyzing museum temporalities in new ways. As will be shown under common museum narratives lies temporal complexities that weaves through human-animal relations, care time and those of planetary change. How, then, can we lay the ground for developing what could be called a more affirmative and ecologically inclusive alter-museum by curating time differently ? [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Knowing glass beads as active agents – as beings – proffers forms of analysis untethered from linear temporality and immersed in story. Analytical frameworks steeped in Western philosophical traditions dictate limited understandings of art made by Indigenous peoples within the study of art histories, and as displayed and collected by museums and galleries. Despite museological conventions that reproduce entrenched processes of objectification and linear classifications, appreciating Indigenous beadwork through relational and dialogical epistemologies has gained traction within the study of Indigenous arts in Canada. In support of future generations of Indigenous makers in the prairie region, this analysis upends conventional colonial structures of knowledge entrenched in institutions. [ABSTRACT FROM AUTHOR]

Copyright of Museologica Brunensia is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

On 10 October 2019 the exhibition What a Genderful World opened in the Tropenmuseum in Amsterdam. The central premise was that all people experience inhabiting a body that moves, lives and breathes in a gendered world. The article firstly examines the process of making this a 'gender' exhibition. In order to refrain from labelling, the exhibition team departed from the original assignment that aimed at an exhibition about 'women'. Asking questions of what makes a woman or a man or any other gender identity in relation to the museum's historically and geographically diverse collections, revealed the necessity to do justice to the multiple layers involved in a discussion about gender. Ideas around gender are shaped and expressed differently through time and space, but other intersectional aspects including race, religion, socio-economic class, age or sexual orientation may well be equally important. Hence, this section discusses the means by which this huge and complex topic is made accessible in the exhibition to a broad audience. Finally, the article takes the reader on a journey through the various areas of the exhibition framed around the following questions: (1) What do you think? (2) Does your body determine your gender? (3) How do you become a gender? (4) How ought you to behave? (5) Gender without borders? (6) Who has power here? (7) Playful with gender? In so doing, the article addresses the theoretical framework underlying the choice of certain interactives and the privileging of design elements. The article will conclude with a critical reflection on the museum's role in the societal debate around gender. [ABSTRACT FROM AUTHOR]

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Recent Period Turkish Studies / Yakın Dönem Türkiye Araştırmaları is the property of Recent Period Turkish Studies / Yakin Donem Turkiye Arastirmalari and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Museologia e Patrimônio is the property of Museologia e Patrimonio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Museologia e Patrimônio is the property of Museologia e Patrimonio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Museologia e Patrimônio is the property of Museologia e Patrimonio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Museologia e Patrimônio is the property of Museologia e Patrimonio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Historically, museum curation and programming efforts in the United States have excluded marginalized populations, such as immigrants. While many museums are trying to be more inclusive, the vast majority of museum visitors in the United States are still White, middle-, and upper-class Americans. Immigrant populations in particular are overlooked by cultural heritage institutions, in part because research on how these groups relate to museums, and what they need from them, is lacking. To increase our understanding of how US museums do and do not serve immigrants, I offer a literature review focused on three research areas: immigrant information access, museum studies/museology, and immigrants in museums. The review examines immigrant interactions with museums, which influence how museums curate exhibits and create programming for immigrant communities. It reveals a gap in the literature regarding first-hand immigrant interactions, increasing awareness of relevant research and outlining new avenues for future research regarding immigrant populations in modern museums. [ABSTRACT FROM AUTHOR]

Over 12,000 Haida belongings and 500 Haida ancestral remains were collected and locked away in museums at the height of colonization in the late 1800s to early 1900s. It has been my lifelong quest to undo the colonial harm done to my Ancestors and their belongings. With gudáang 'láa, (joy) as a foundational philosophy and methodology, I am researching and telling the story of Haida repatriation and reconciliatory work with museums. [ABSTRACT FROM AUTHOR]

Knowing glass beads as active agents – as beings – proffers forms of analysis untethered from linear temporality and immersed in story. Analytical frameworks steeped in Western philosophical traditions dictate limited understandings of art made by Indigenous peoples within the study of art histories, and as displayed and collected by museums and galleries. Despite museological conventions that reproduce entrenched processes of objectification and linear classifications, appreciating Indigenous beadwork through relational and dialogical epistemologies has gained traction within the study of Indigenous arts in Canada. In support of future generations of Indigenous makers in the prairie region, this analysis upends conventional colonial structures of knowledge entrenched in institutions.

This article systematises the architectural and archaeological remains of the Ottoman presence in Sofia and describes the modus operandi reagrding their restoration and reconsideration within the context of the constant urban development of the Bulgarian capital. It shows the main approaches and methods applied by one of the leading national museum institutions in the preservation, presentation, and socialisation of the remains from the Ottoman period (15th-19th centuries).