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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.

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 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.)

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 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]

The increasing (foreign trade-oriented) competitiveness with the production of technology provides local governments with a number of facilities both in terms of export and administration. In this respect, almost all developed countries have established technological infrastructures and integrated them into the corporate organizations in their homelands. The situation we are talking about has made "technology alliances", one of the popular definitions of the recent period, a necessity. In this way, changes and transformations focused on speed, practicality and ergonomics related to technology have reached the potential to have a global-scale impact. We are aware of the point reached in the 20th century of postmodernism. It is possible to say that the effect it evoked in the last quarter of the century has left it with a similar one. However, technology has a use area that appeals to the collective consciousness by creating widespread effects with its renewed and interdisciplinary features. There is now a situation that should be foreseen in decisions on national policies and that affects the sustainability of large-capital institutions. On the other hand, today, the emphasis is on information and the information societies that come with it. Information societies are societies that have the ability to assimilate the benefits provided by the information of information urgently. Due to these characteristics, while their intellectual needs deepen day by day, their expectations from the culture industry are different. Museums, one of the indispensable actors of the cultural industry, closely follow technology while striving to meet the intellectual needs of information societies among their target groups. In line with their functions, there are already many "current" technologies that they have added to their fixture lists. Their knowledge in the process signals that they will continue their current approach in the coming years. Research; It has a flow that sets out from the technologies that museums have acquired/continue to acquire and evaluates and interprets the later stages of the process. The technologies discussed in the subheadings range from augmented reality to NFT and Metaverse. In the last part, where this diversity is examined, there are a number of suggestions for museums that want to benefit from the benefits of Industry 4.0.

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.

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]

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]

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.

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.

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.

Çok köklü bir tarihî miras devralan Türkiye Cumhuriyeti’nin bu tarimirası koruyup gelecek kuşaklara aktarabilmesi için müzeler hayati öneme sahipti. Bu doğrultuda devletin kuruluşundan itibaren müzecilik alanında önemli adımlar atıldı. Cumhuriyet Dönemi’nde Türk müzeciliğinin gelişiminde 1932-1951 yılları arasında faaliyet gösteren halkevleri önemli bir dönüm noktası oldu. Halkevlerinin dokuz çalışma şubesinden biri olan müze ve tarih şubelerine, müzesi olmayan şehirlerde müze kurma, mevcut müzelerin koleksiyonlarına katkı sağlama, bulundukları bölgedeki tarihî eserleri tespit ederek envanterini çıkarıp koruma altına alma gibi görevler verildi. Halkta tarih ve tarihî eser bilinciyle müze kültürü oluşturmak da halkevlerinin bu alandaki sorunlulukları arasındaydı. Bu doğrultuda bazı halkevleri tarafından genel müzeler kurulurken bazıları tarafından da tematik müzeler açıldı ve bu tematik müzeler arasında inkılâp müzeleri de yer aldı. Ayrıca halkevleri, araştırma gezisi, bağış ya da satın alma yoluyla temin ettiği binlerce eseri yok olmaktan kurtararak müzelerin envanterine kazandırdı. Türk müzecilik tarihi ve halkevlerinin kurum tarihi literatürüne katkı sağlaması amaçlanan bu çalışmada, dönem kaynaklarından istifade edilerek halkevlerinin Erken Cumhuriyet Dönemi Türk müzeciliğine katkıları incelenmektedir.

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]

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]

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.)

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 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.)

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]

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.)

In 2007, "intangible cultural heritage" (ICH) was included in the definition of the concept museum by International Council of Museums (ICOM). In addition to tangible cultural heritage safeguarding, it was deemed necessary for museums to engage in research and implement activities that enhance society's cultural and educational understanding of intangible cultural heritage (ICH). According to the ICH Convention, museum education activities related to ICH are important for safeguarding and sustainability of heritage. However, how are educational activities related to ICH implemented in museums? Is the ICH Convention considered while these activities are being carried out? How are articles of the ICH Convention supported? How have the aims of the ICH Convention supported the aims of educational activities of toy museums in Türkiye? The aim of this study is to examine the educational activities of toy museums in Turkey in relation to principles of the ICH Convention. In this article, literature review and interview methods were used. It is determined that educational activities of ICH are carried out at toy museums in Türkiye, but they are limited. It is identified that museums have activities related "to safeguard for ICH" and "to raise awareness at local, national, international levels ICH's importance, ensuring mutual appreciation thereof" from ICH Convention's purposes. It is considered essential to conduct museum education studies that aim to achieve two main purposes: firstly, to ensure respect for the intangible cultural heritage (ICH) of communities, groups, and individuals involved; and secondly, to facilitate international cooperation and assistance. These studies should be developed in accordance with the articles and implementation guidelines outlined in the ICH Convention, enabling toy museums to align themselves with the principles set forth in supporting the ICH Convention. [ABSTRACT FROM AUTHOR]

This article sets out to tackle the question: 'what can museum anthropology do in the twenty-first century?' It does so by focusing on the doing in a double-sense: on what museum anthropology can do, as in affecting, impacting and achieving, as well as on museum anthropology's own doing, as a particular set of knowledge practices brimming with methodological, epistemological and ontological potentials to be harnessed for its own renewal and for cross-disciplinary fertilization across the academy and beyond the museum itself. The character of the article is programmatic, laying out the program of museum anthropology being developed at LMU Munich, Germany. The article begins by pondering this question explicitly. Then it proceeds by mapping out what has been done, what is being done, and what will be done to address this question at LMU Munich in collaboration with other universities and museums. At the end, the article draws out some of the implications of answering that question for an anthropology not only of and in but through museums, which intervenes in the fields that it studies. [ABSTRACT FROM AUTHOR]

Copyright of Mouseion (19817207) is the property of Editora Unilasalle 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 Mouseion (19817207) is the property of Editora Unilasalle 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.)

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]

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. [ABSTRACT FROM AUTHOR]

Copyright of Iluminuras is the property of Revista Iluminuras 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 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).