了解观众 服务观众——浙江省博物馆武林馆区观众问卷调查分析报告

为了贴近观众的多元需求,改善博物馆的服务质量和服务水平,浙江省博物馆在武林馆区通过为期一个月的问卷调查来收集观众的反馈意见。问卷设计有两种:其一是《浙江省博物馆武林馆区和浙江革命历史纪念馆观众问卷调查》,侧重调研观众的身份、信息来源、参观需求;另一种是《"越地长歌——浙江历史文化陈列"问卷调查》,侧重调研博物馆陈列展览的品质和观众参观时的状况。这次问卷调查获取的信息比较准确、科学,有助于博物馆工作者从中找出博物馆工作改进完善的目标,更加密切博物馆与公众的关系。     

台湾地区博物馆发展文化创意产业的理念与实践

文化创意为近年来发达国家地区竞相发展的经济力,我国台湾在地方政府的鼓励扶持下,利用文化创造活力强、文物资源丰富等优势,积极发展文化创意产业,成果突出,其中台北"故宫博物院"具有台湾地区博物馆发展文创产业指标的地位。台北"故宫博物院"通过精心设计展览内涵、向社会开放文物数字资源、培养民众美学素养等方式,吸引并固定了一大批观众;同时还积极开拓商机,征求厂商合作开发文物衍生商品,并结合典藏文物特色设计餐饮空间,文化创意产业获得了可观的产值和显著的社会效应。     

首都博物馆老年观众行为与需求调查分析

我国已进入老龄社会,博物馆应根据老年观众的需求和行为特点,完善对老年观众的各项服务。对首都博物馆的相关调研显示:老年观众多在上午与家人、亲属结伴参观,大多对历史和艺术有兴趣,愿意参观博物馆组织的特展,充足的休息座椅、良好舒适的参观环境和干净且位置适宜的卫生间位列老年观众参观需求的前三位。     

Deadly medicine

This article discusses the methods the United States Holocaust Memorial Museum used to make an exhibition on the complex history of Nazi eugenics accessible to the museum's mass public and at the same time, provocative for special audiences consisting of professionals and students from the biomedical fields. Deadly Medicine: Creating the Master Race showed how both eugenics and related "euthanasia" programs in Nazi Germany helped pave the road to the Holocaust. The exhibition implicitly evoked the present-day appeal of biological explanations for human behavior and of new visions of human perfection. Educational programs used the exhibition as a springboard for discussions of bioethics and medical ethics.     

明四夷馆中日本馆译语编撰考

明四夷馆是中国最早培养翻译人员的专门机构,四夷馆设立于明永乐年间,初设时有八馆,没有专设日本馆,其从属于何馆,史料记载不一。在明四夷馆的翻译教材会同馆本《华夷译语》中,出现了13馆译语,其中包括日本馆。虽然无法确切推断日本馆设立的时间,但是可以通过对《华夷译语》的研究推测出日本馆译语的大致编撰时间。     

博物馆中的南海知识生产与地理想象

地理想象是通过文化媒介对特定地方的地理“现实”的转录与重构,而博物馆是达成地理想象的一个代表性媒介。博物馆不只是一个展品陈列的空间载体,其中还包含着地理知识的生产。本文以南海博物馆为例,采用参与式观察、半结构式访谈、话语分析方法,探讨中国（海南）南海博物馆对“南海”的呈现。研究表明,南海博物馆对南海的地理想象不仅是话语建构,同时也是一种国家领土主权在话语层面上的实践。地名、地物、地图、地景是南海地理想象的构建基础,中国（海南）南海博物馆通过对“过去”资源的空间组织,构建了“南海”的地域想象、边界想象以及地缘想象。     

“British Tribute to Virginia Valor”: Unveiling the Stonewall Jackson Memorial Statue

This article outlines the political agendas surrounding the dedication of the Stonewall Jackson Memorial Statue, an early Confederate monument commissioned in Britain in 1863 and unveiled with much fanfare in Richmond, Virginia in 1875. It argues that the statue’s British provenance made it an ideal means of expressing the distinctive claims of the Conservative Party of Virginia. By commemorating both General Jackson and Britain’s Confederate sympathizers, modernizers in the Conservative Party presented themselves as representatives of an Anglo‐Saxon Christian value system, guardians of the “Old Dominion’s” immemorial character, and defenders of political views that held national and international significance. Thus the Conservatives dedicated an international monument to a transatlantic and implicitly racist cultural tradition as part of their larger effort to facilitate Virginia’s integration into the reconstructed national union on terms favorable to the former Confederates.     

中英街历史博物馆馆藏火炮的保护修复

为了调整改造"百年中英街"基本陈列,中英街历史博物馆专程到广东台山征集了三门与陈列所反映历史时期相关的火炮,加上原馆藏的一门在深圳东部沿海大梅沙出土的火炮,博物馆现有四门火炮。为了更好地保存、保护和修复这批火炮,对其进行了观察和研究。结果表明这四门火炮均为英国制造的火炮。由于馆藏大梅沙出土的这门火炮病变锈蚀具有典型性,为此,特别制定了一整套保护修复方案:采用机械去污和去离子水清洗、75%乙醇脱水干燥,再用2% ParaloidB72封护的方法实施了保护修复。修复结果表明,火炮恢复了原有的历史风貌,通体光滑无铸缝,整体性好,坚固紧实。从修复保护的结果还可以看出,所实施的保护修复方法是恰当和有效的。保护修复后的火炮陈列在"百年中英街"基本陈列中的"英国割占香港"部分,陈列及观赏效果良好。     

试论博物馆艺术授权的结构模式与价值链

博物馆艺术授权是以博物馆藏品等所体现的文化艺术内涵为依托的授权标的物知识产权的授权体系,其发展路径和结构形式即为博物馆艺术授权的结构模式,分为直接授权模式、委托授权模式和综合授权模式三种。这一结构模式决定了其价值链的形成过程和最终形态,总体表现为由若干点、线、面组成的伞状结构的价值网络。     

‘Why did they take him away?’ The theft of Neddy Larkin

Neddy Larkin, a Bundjalung man from New South Wales, Australia, was stolen from his grave and in 1891 sold to the Peabody Museum, Cambridge, MA. This paper uses the methodology and concepts outlined in Latour’s An Inquiry into Modes of Existence to chart Neddy Larkin’s transitions from kinsman to scientific data.     

美国内战时期南部邦联政府的财政政策

美国内战期间,南部邦联财政政策的主要目标是筹措资金。为达到此目的,南部邦联政府采取了征税和发行国库券与债券等措施。由于通过征税获得的财政收入微乎其微,南部邦联政府的财政资金便主要依靠发行国库券和债券。此举固然使得南部邦联政府短期获得一部分可支配资金,但由于南部邦联没有坚实雄厚的财政基础,又得不到外来有力的资金援助和支持,因此南部邦联财政政策并未实现既定目标,反而引发了通货膨胀和物价飞涨,加剧了南部邦联的民心涣散,最终加速了南部邦联的失败。     

上海博物馆所藏楚简文字杂说

本文就上海博物馆所藏楚简中几个字的释读提出了新的看法,并认为《性情论》的文字风格与长台关竹书颇为相似,它们的书写者可能有密切关系。     

两面罕见的西汉铜镜

郑州未来铜镜艺术博物馆收藏的一面草叶纹镜,其形制、纹饰接近满城中山靖王墓所出,也属于武帝前期。镜铭两句十六字,系楚歌体诗,有助于七言诗起源的研究。该馆收藏的另一面星云纹镜,从纹饰看属于西汉中期偏早,特点是有同类型镜罕见的铭文。内容描写思人之梦,更为镜铭中的异例。     

A New Right to Property: Civil War Confiscation in the Reconstruction Supreme Court

During the Civil War, both the Union Congress and the Confederate Congress put in place sweeping confiscation programs designed to seize the private property of enemy citizens on a massive scale. Meeting in special session in August 1861, the U.S. Congress passed the First Confiscation Act, authorizing the federal government to seize the property of those participating directly in the rebellion. ¹ The Confederate Congress retaliated on August 30, 1861, passing the Sequestration Act. ² This law authorized the Confederate government to forever seize the real and personal property of "alien enemies," a term that included every U.S. citizen and all those living in the Confederacy who remained loyal to the Union.     

In the National Interest: Dominions' Support for Britain and the Commonwealth after the Second World War

Was British confidence that the Commonwealth could bolster its international status and extend its global reach after the Second World War a product of self-delusion or nostalgia? This paper examines three crucial aspects of relations between Britain and Canada, Australia, New Zealand and South Africa in the 1940s – diplomacy, economics and defence – to show the extensive and tangible support that the ‘old dominions’ extended to Britain. They opted to back Britain because it served their individual national interests well. British hopes that the post-war Commonwealth would be an effective association were founded on ample evidence, although the British desire to lead and dominate was confounded by the fact that Ottawa, Canberra, Wellington and Pretoria were national centres in their own right.     

Japanese Saris: Dress,Globalisation and Multiple Migrants

In this article, which is based on research in Leicester and Nairobi undertaken for the Cultural Olympiad exhibition Suits and Saris (New Walk Museum and Art Gallery, Leicester, 2012), we examine the phenomenon of Japanese saris — fashion-forward synthetic saris manufactured in Japan — and Leicester sari shop owners’ role in their design and popularity in the 1970s and early 1980s. We use this previously untold story to explore transnational identities as manifested through cultures of dress. We investigate the transnational space in which these saris were produced and used, and we focus in particular on the multiple migrant experiences of East African Asians, many of whom emigrated to Britain during the late 1960s and 1970s. We argue that the truly global phenomenon of Japanese saris would not have been possible without the transnational and multiple migrant nature of the South Asian diaspora.     

South Africa’s form of globalisation: a continental posture paradox for insertion and dependence

The fashionable form of globalisation has perpetuated Africa’s incapacity for auto-centeredness. As promises of political and economic reforms did not materialize and as economically powerful states continued to be indifferent, most African states resorted to the strategy of self-interest for international legitimacy and faith in foreign direct investment (FDI) and aid. Departing from its portrayal as a relatively developed, competitive and civil-minded state in Africa, South Africa reinvented modernity in the hope of servicing similar self-interests. I argue that South Africa’s form of globalisation is paradoxical. While positing as a voice for the voiceless and leader of African renaissance, that country simultaneously mediated Africa’s relations for appropriation of neo-liberal principles. Occurring predominantly through political and economic liberalisation, globalisation of Africa is ‘an old story’ of insertion for dependence on foreign capital. I show that South Africa’s neo-liberal agenda in Growth, Employment and Redistribution (GEAR), as well, engendered openness to imports. Given the commonalities between GEAR and the New Partnership for Africa’s Development (NEPAD), I argue that the latter is South Africa’s instrument of ‘reintegrating’ Africa. I also illustrate that South Africa’s foreign economic policy in Africa and NEPAD are founded on the marginalisation thesis, misreading of the paradoxical operations of neo-orthodoxy globalisation in Africa and the thinking that South Africa is suffering due to its geographical association with Africa. I conclude that that country’s form of globalisation will further empty Africa of its capacity of auto-centeredness and engender openness to imports, which are yet to deliver continental recovery.     

Who were bennelong and Pemulwuy? Museums in Sydney and interpretation of eora aboriginal culture

Abstract

The Eora Aboriginal People are the original inhabitants of the Sydney region [in NSW, Australia]. There are an estimated 2, 000 Aboriginal rock engravings in Sydney. Some museums in Sydney now acknowledge the traditional Aboriginal owners and use Eora words to name their exhibitions. These include: Ngaramang bayumi – music & dance (Powerhouse Museum); Merana Eora Nora – first people (Australian National Maritime Museum); Yiribana (Art Gallery of New South Wales); and Cadi Eora Birrung: Under the Sydney Stars (Sydney Observatory). The Aboriginal history of Sydney, however, is only told at the Museum of Sydney with installations, videos and spoken exhibits about Eora, the indigenous peoples of Sydney. This paper reviews the Eora Aboriginal exhibits at the Museum of Sydney. It questions whether visitors to Sydney learn about Bennelong and Pemulwuy, two key Aboriginal figures in the the early European settlement around Sydney Harbour. Sydney Aboriginal Discoveries on their Dreamtime cruise of Sydney Harbour provide another interpretation of Eora history and culture. The paper suggests the Eora heritage of Sydney should be more widely interpreted in Museums, National Parks and other public venues to rightfully acknowledge this Aboriginal history.     

陈列展览策划与博物馆建设

陈列展览是博物馆最基本的职能之一,是博物馆开展公共文化服务的直接载体和最佳切入点。陈列展览策划作为创造性运作陈列展览的有效手段,与陈列展览水平及博物馆建设密切相关。陈列展览策划能力是博物馆核心竞争力的主要构成要素,加强陈列展览策划是适应博物馆事业发展的需要,深化陈列展览策划有助于提升博物馆的文化影响力。探析陈列展览策划与博物馆建设之间的关系,有助于深化对陈列展览策划的理性认识与实践探索,有益于增强对陈列展览策划与博物馆建设重要性的认识。     

端方(木乏)禁诸器的工艺考察

纽约大都会博物馆所藏端方(?)禁诸器具有重要的学术价值。作者对这一器群作了详细的工艺考察,阐明了它们的铸作工艺,并就其器物归属和陈列方式,提出了自己的看法。