粮农类主题博物馆类型与特色研究

粮食是人类生存的重要必需品,关乎着人类生存发展的基础。中国作为农业大国,自古以来便极为重视粮食的储备建设和仓廪制度的完善。粮农类主题博物馆作为展示中国农业文明的重要媒介,在展示中国农业文明、粮食文化中具有重要的意义和价值。文章立足于粮农类主题博物馆类型与特色研究,通过梳理粮农类主题博物馆类型与特色,以期展示中国农业文明,梳理粮食历史文化,为粮农类主题博物馆理论研究贡献应有力量。     

坚持行业特色 发挥专业优势——从江苏省行业博物馆发展路径谈起

随着经济社会的快速发展和文化事业的日益繁荣,行业博物馆应运而生,近年来出现蓬勃的发展势头。作为一种富有活力、新兴的博物馆类型,行业博物馆一定程度上补充并冲击了原有博物馆类型单一的局面。与此同时,对行业博物馆的发展研究也引起了学界的普遍关注。     

博物馆应全面担负起对文化遗产保护的历史责任

博物馆作为一种历史化现象,与人类社会经济生产活动和精神化活动的进步提高具有紧密的联系。从严格意义上讲,我国博物馆事业的发展只有百年的历史。一个世纪以来,我国博物馆由1905年张謇创建的第一座南通博物苑发展到目前2300多座,博物馆事业得到了长足的发展,尤其是近十几年来,从陕西历史博物馆建成开始,标志着我国博物馆事业的发展进入一个新的里程。一批采用科技手段、多媒体手段,具有现代意义的大型博物馆在许多省份拔地而起,各种类别的、不同形式的专题性的中小型博物馆如雨后春笋般地生长起来。随着改革开放的不断深入和人们的经济物质生活的不断提高,人们的精神化需求也随之丰富起来,博物馆这个传承历史明,各种化交流、汇聚、展示的重要窗口,也越来越为国内外公众所瞩目。     

真实与重构:博物馆展示本质的思考

博物馆一直以中立、客观来宣扬自身对真实情形的表达。作为连接博物馆与公众的桥梁,博物馆展示的本质及过程是探讨博物馆真实性的关键所在。在博物馆场域中,从真实而具体的物件到有意义而抽象的展示,此重构的过程主要受两方面因素的影响:意义的制造与政治的关切。博物馆展示过程中真实不可避免地被重构,同时博物馆又是权力—知识体系下的一个重要场域,但无论其如何重构,博物馆体现的仍是一种"真实",是一种可见的、相对的、被社会需要的"真实"。     

浅谈博物馆陈列从设计到布展——以大同市博物馆为例

近年来,随着经济的迅猛发展和人们对自身文化修养需求的提高,博物馆的新建和重建在我国正经历着一个迅速发展的过程,在类型和数量上都有着翻天覆地的变化。陈列设计是一家博物馆的真正核心所在,是实现博物馆功能的桥梁。本文以大同市博物馆御东新馆重建为例,对博物馆陈列从设计到布展的过程进行概括、研究与探讨。     

清代广西地方志编纂及其特征述论——以府志为中心

清代是广西修志的鼎盛时期,地方志编纂日趋成熟。从编纂思想主张上看,目标明确,立意深远;从时空分布上看,波浪起伏,东多西少;从编纂人员及组织上看,官绅配合,分工明确;从编纂体例上看,体例成熟,与时俱进;从编纂内容上看,内容全面,价值丰富;从编纂特色上看,凸显民族,重视边疆。清代广西地方志编纂意义重大,具有重要资政、教化和史料价值。     

比较史学何以成为可能——刘家和先生比较史学理论和方法初探

比较史学侧重于跨时空的历史对照研究,是一个晚近新兴的历史研究领域。刘家和先生为构建该研究领域的理论和方法做出了杰出贡献。他的比较史学,将"同"与"异"的辩证关系作为理论基础,以可比性为中心建立比较类型,在对史料进行考证批判的前提下就比较对象进行深入剖析,抓住其异同的本质,提炼出更高层次的比较类型,从而把握比较对象的本质。刘先生的比较史学实践具有方法论层面的示范意义,显示出独具一格的理论旨趣,将比较史学研究提升到一个新的层次。这些理论和方法建立在大量具体的中外、中西史学比较成果的基础上,具有鲜明的实践品性,为解答比较史学在实践中何以可能的问题做出了突出贡献。     

博物馆在城市文化建设中的角色——兼谈山西博物院发展的几个建议

从某种角度上说，了解一个地方的过去和现在是从博物馆开始的。一座博物馆就是一部物化的发展史，人们通过文物与历史对话，穿过时空的阻隔，回首先人的生活、思想、文化、艺术等等。     

博物馆视觉思维初探

博物馆视觉思维是研究博物馆观众通过视觉接受信息、储存信息和加工信息时涉及的一切心理活动。博物馆作为一个独特的科学文化教育机构,它的特点在于将纷繁杂乱的自然形态,在一定的时空内运用艺术手段,构成一个整体而有秩序的律动效果的形态一一陈列展览,向人们传播历史、科学文化知识。这样一个传播过程,主要是依赖人们的视觉,并且辅助以听觉、嗅觉、味觉、触觉等感觉器官共同作用来完成。而“博物馆基本上是一     

试论当代博物馆展陈中的隐喻表现

伴随博物馆理论与实践的发展,当代博物馆展陈在博物馆建筑、展厅以及装饰细部等陈列元素上体现出鲜明的隐喻特征。这些充满象征与暗示的元素综合生成了博物馆的个性空间,成为博物馆表达历史记忆的载体,也是构建视觉文化的重要端口。当代博物馆借助隐喻的视觉文化来塑造观众的"看"进而实现对观众的引导与塑造。因此,研究展陈中的隐喻对于探讨当代博物馆的展陈理念以及背后的文化诉求具有重要意义。     

《筱园诗话》对清代诗坛之研究

《筱园诗话》被学术界忽略的一部分,恰恰是最有价值的一部分,即其对清代诗坛流变、诗歌流派的论述、评价。朱庭珍站在传统诗学的立场上,也带着鲜明的个人色彩,在时间与空间的经纬交错中描述了清诗坛的流变,对于主导清诗坛的诗歌流派做出了判断、剖析。在儒家诗教的延续中,《筱园诗话》试图超越两极对立,达到中庸的境界,具有鲜明的复古意识,对唐宋之争表明了态度。正因其保守,才得以保留了晚清人对传统诗学探索与总结的文本。     

社交媒体时代的博物馆信息传播——以徐州博物馆为例

社交媒体时代下互联网与手机应用等新媒体技术的兴起,构建出覆盖全球的信息网络,以博物馆为锚点的连接,辐射向更广阔的文化景观与观众群体。社交媒体为一些鲜少涉足博物馆的潜在观众群提供了多种渠道互动沟通的可能。从社交媒体与受众群体的内容和特点入手,可将博物馆社交媒体的运营模式分为平台型、社群型和泛在型三类。从徐州博物馆与国内外博物馆在这一领域的实践探索来看,社交媒体在博物馆信息传播中已有一定的创新应用,收到较好效果,但也面临新的挑战。     

参与性收藏的理论探析与思考

参与性收藏是近些年来西方一些博物馆基于"记录今天"理念而新兴的收藏。从收藏的角度,参与性收藏是博物馆通过主题策划与活动设计,组织社会公众携相关物件加入博物馆收藏,并成为馆藏的一部分,以参与的方式将公众与博物馆物品、内容、语境联系起来,其主题多与当下社会发展、生产生活方式变迁等相关,方式上突破传统收藏相对单一、封闭的模式,具有流动、共享、多元、充满活力的特点。从藏品内涵上,具有"记录今天""关注日常""突出藏品与人的关联"等特点,丰富了博物馆藏品的内涵与外延,这是对传统收藏的丰富与推进。在参与性收藏的视野下,航海类博物馆收藏具有更深广的创新空间。     

The Meaning of Local in a Global Economy: The 'Region's Advocacy of Local Interests' as a Necessary Component of Current Global/Local Theories

Today's corporate strategy is resulting in the creation of a network enterprise. As geographic space is integrated in this strategy, it is not only the network enterprise that functions in a polycentric way, but also space. Therefore, a networked territory exists as another reality alongside the existing socio-political entities. In a global/local perspective, recent models of local economic development emphasize the role of the 'local' in local economic development. These theories stress the importance of socio-cultural environment, institutions and networking in local economic development. Without denying the importance of these characteristics, it is clear that even perfect 'local' conditions are not infallible localization forces. Just as globalization is not a kind of mystical force, neither are the forces of localization. To understand why there are winners and losers, localization forces must be regarded from the point of view of existing or absent common local interests and the local capacity to organize them. They are not mystical but they have very much to do with relationships of power not only within, but - resulting from the emergence of a networked territory - also outside the region. From this perspective the existence and the safeguarding of common local interests are not apparent. Local advocacy is therefore a necessity from the region's point of view.     

旅游业和博物馆业的融合与发展

旅游业的迅猛发展,给博物馆业带来了新的发展机遇和空间。与此同时,博物馆事业的蓬勃发展又极大地丰富了旅游资源,两者相互渗透、融合和促进的趋势日益明显。博物馆应与旅游界密切合作,共同创造美好明天。     

Museums and the ‘Death of Experience’: singularity,interiority and the outside

This paper discusses a number of well-known critiques of the museum that seek to identify it as a problematic space for experience. The key argument put forward is that we can find within that analysis a critical geography around the museum that help us to understand the work that it does in relation to experience. Three spatial motifs are drawn from this analysis and discussed: the singular, the interior and the outside. The paper argues that museums since the nineteenth century have established a topos for experience based on a mimetic realism around the experience of both culture and history through the first two of these spatial expressions. Through them museums produces a fabulation of culture and history that supplements for the lack of topos for experience found within modern society as a whole. The latter spatiality – that of the outside – is found in the form of the absent–presence of the event in relation to the archiving principle of the museum, thereby continually unsettling the first two expressions and calling them into question. This dynamic reveals the museum as a space to critically think about what it does with experience and the importance of spatial analysis for that.     

Art Museums,Old Paintings,and Our Knowledge of the Past

Art museums frequently remove old paintings from their original settings. In the process, the context of these works of art changes dramatically. Do museums then preserve works of art? To answer this question, I consider an imaginary painting, The Travels and Tribulations of Piero's Baptism of Christ, depicting the history of display of Piero della Francesca's Baptism of Christ. This example suggests that how Piero's painting is seen does depend upon its setting. According to the Intentionalist, such changes in context have no real influence upon the meaning of Piero's painting, and consequently museums can be said to preserve works of art. According to the Skeptic, if such changes are drastic enough, we can no longer identify the picture's original meaning, and museums thus fail to preserve works of art. Skepticism deserves attention, for such varied influential commentators as Theodore Adorno, Walter Benjamin, Maurice Blanchot, Hans‐Georg Gadamer, Martin Heidegger, Hans Sedlmayr, and Paul Valéry hold this pessimistic view of museums. I develop the debate between the Intentionalist and the Skeptic. Ultimately skepticism is indefensible, I argue, because it fails to take account of the continuities in the history of art's display. But Intentionalism is also deficient because it is ahistorical. In presenting the history of Piero's painting, The Travels and Tribulations of Piero's Baptism of Christ shows that we can re‐identify the original significance of Piero's work and the recognizable continuities that obtain through its changes. It thus makes sense to claim that at least in certain circumstances art museums can preserve works of art.     

Anthropology and the New Museology

Efforts are expanding to make museums responsive to broader audiences, and to incorporate a more multi-voiced approach to representation. Anthropologists and museum professionals point to initiatives in museums to broaden their research and outreach, but there is work still to be done. Whether we focus on theory or methodology, the new museology represents a particularly anthropological approach to museum work, emphasizing collaboration between museums and communities, and the recognition of the rights of peoples to be included in and consulted about the presentation and preservation of their heritage.     

GEOGRAPHY'S PLACE IN TIME

From the moment it began to engage with time in a considered way, human geography has employed a variety of analytical and conceptual approaches to it. Recent work especially has greatly extended the range of these different approaches by stressing the innate variability of time, leading some to talk of ‘multiple temporalities’ and to pronounce time as ‘uneven’ even within the same society. Fractured by such differences over how time may be used and interpreted, the possibility of an overarching concept of time in human geography has long gone. However, this does not prevent us from asking whether it is still possible to produce a coherent review of the differences involved. This paper offers such a review, arguing that setting these differences down within a structured framework can provide a clearer sense of how diverse the debate among human geographers has become and the trends of thought that have underpinned this growing diversity. Among the trends identified, it places particular stress on the shift from objectified interpretations to those dealing with relational forms of lived and experiential time and on how the separation of early discussions of space from those on time, their dimensional stand‐off from each other, has slowly given way to a view in which space and time are treated as sticky concepts that are difficult to separate from each other.     

Globalisation and memory

Abstract

We live in the ‘era of disparition’, in Paul Virilio's words. Globalisation causes our common markers to disappear: time is worldly and instantaneous. Perception of space is modified; everything can be in the same place at the same time; places tend to standardise. Communities are baffled by wars, ethnocide, emigration. In the midst of all this, collective memory fights for existence. The motto of museums could be, as Virilio says, ‘searching for signs rematerialising the world’. To counter the deleterious effects of disparition, museums should stress the importance of territory and history. Ecomuseums in particular can become the archetype of social places for meetings, for common elucidation resulting in exhibitions, for remembering collective memory. The museum must help the community undertake not so much a duty of memory as a work of memory. The function of the museum is awakening consciousness in many dimensions.