Pioneer Living 1963 Style: Imaginations of Heritage in a Post‐war Canadian Suburb

This article connects the origins of a Canadian living history museum to the cultural and social developments of 1960s suburban Canada. Although there exists a strong literature on heritage and commemoration in Canada (and around the world), few scholars have looked explicitly at museums in that country. The literature on history museums elsewhere in the world is stronger. However, despite the strengths of this international literature, its focus has been on the use of museums in the present. An important aspect of the use of heritage, the historical contexts in which past museum visitors interpreted museum themes and displays, has not received much attention. This article argues that museum patrons of the 1960s, the decade in which many living history museums were founded, saw pioneer villages in the context of their own modernising lifestyles. However much Black Creek Pioneer Village might reflect anxiety about the direction of modernity, it also framed the past in ways that legitimated modern, suburban living.     

The contested interpretation of heritage landscapes in northern Ireland

Abstract

Because the nature of society is both negotiated and contested, cultural artefacts, including heritage landscapes, will be invested with differing and conflicting meanings by various social groups. This is but one aspect of what might be termed the dissonance of heritage. The present discussion is framed within the context of the argument that relics of the past are a resource to be selectively exploited in accordance with contemporary political and cultural demands. The paper uses the example of Ulster's Folk and Transport Museum to examine these issues. It concludes that while consumers do appreciate the cultural complexity of the Museum's role as one medium of communication of identity in a contested society, the institution's effectiveness in this regard is undermined by the middle‐class bias of those consumers.     

From icons to institutions: Heritage conservation in Sydney

Over the course of the twentieth century, the Identification of heritage values in the urban environment has undergone a slow but in recent years quite dramatic shift from an elite emphasis on individual landmarks to a more inclusive appreciation also characterised by bureaucratisation, institutionalisation and commodification. Heritage is no longer an ‘add on’ to the planning system, although management, financial and philosophical problems remain. This paper traces the evolution of urban heritage consciousness and policy in Australia from the late colonial period to the postmodern era, focussing on Sydney.     

1949—1966年陕西省博物馆的变革与发展

1949—1966年是陕西省博物馆的重要建设时期,其由民国时期的省立博物馆变为中华人民共和国西北区示范性博物馆,又随国家行政区划调整回归省级中心馆,期间经历了馆名更改、馆舍修整、藏品扩充以及与其他机构合并等一系列体制性变革,重新树立了博物馆人民观,打破了原有古物陈列观,采用大众化教育的陈列模式。调整后的陕西省博物馆融入社会主义博物馆体系,获得了新发展,成为中华人民共和国初期博物馆建设的一个历史缩影。     

Towards more inclusive,vital models of heritage: An Australian perspective

Abstract

This paper's review of relevant Australian writing critical of theory and practice concludes that official protection of the nation's heritage is a prejudicial, narrowly conceived system in the sense that it is not readily embraced by the public at large, and does not relate well to vigorous public concerns for the environment. Heritage remains too securely tied to the historic artefact. Much broader, vital concepts are needed. A ‘social and environmental relations’ model is proposed. Ideas related to such a concept are explored, including examples where heritage is integrated with aspects of community development. Practice in some communities is argued to be blazing paths well in advance of some of the heritage professionals. In support of such initiatives, research directions for historically‐based disciplines that are in accord with the proposed model are outlined.     

卢以纬《语助》“俗语”考论

本文分为上下两篇：上篇对《语助》中所用的“俗语”资料进行逐条考证,下篇则从汉语史和汉语言学史的角度对《语助》使用“俗语”的情况进行分析评论。     

Editorial: new moves in Britain

Melaka is represented in Malaysia's tourist and heritage industries as the place 'where it all began'. This article examines the meaning of this slogan in the context of the cultural policies of the Malaysian state in the 1970s and 1980s when constructions of the political and religious traditions of the pre-colonial feudal Melakan Sultanate were presented as emblematic of the modern nation. The images of the Sultanate, of colonial rule and of Malaysian nationalism in Melaka's museums are analysed.The emphasis on ethnic Malay heritage also indigenised that of other Melakan inhabitants, such as the Portuguese Eurasians or the Peranakan, and ignored that of the majority, later Chinese immigrants. Finally the article questions the future of these representations with the shift in Malaysian cultural representations in the 1990s to those of a modernising, multi-ethnic nation in which a feudal past plays a lesser role.     

‘The Birthplace of Australian Multiculturalism?’ Retrospective Commemoration,Participatory Memoralisation and Official Heritage

In Australia, the authorised heritage discourse contributes to shaping the stereotypically Australian. It actively engages in creating a contemporary national story which glosses over the more shameful or distasteful episodes and themes in Australian colonial and post‐colonial history which is presented as being by‐and‐large progressive and benign. While the process of forging national history has become more complex and increasingly fraught, given globalisation and the emergence of new histories, nation and nationalism remain culturally persistent. The turn to multiculturalism from the 1970s as the principal way of defining Australianness and the nation lead some conservatives in politics and the heritage industry to appropriate the new social history, using it to present diversity as an indicator of a fair and open society. In this process, both history—an evolving academic discipline—and the past—lived experience which has meanings and uses in the present—were transformed into heritage.     

Sense and sensitivity: Appraising the Titanic

Abstract

The first substantial exhibition of material retrieved from the wreck of the Titanic was mounted by the National Maritime Museum, Greenwich, in October 1994. Extended for a second six‐month run the following April, this was to be the most popular exhibition the museum had ever staged, helping to attract some 720,000 people through the turnstiles during the year. It also generated an unprecedented level of media attention, particularly in the period leading up to the opening, placing a wide ranging (but ultimately soft) focus on the museum's motivation for proceeding into the deep waters of apparently delicate subject matter. Indeed, the controversy of the exhibition —a phenomenon partly created, developed and sustained by the media itself — not only formed a backdrop to the planning, design and installation of the show; to some extent the displays, their effects and their meanings became dependent on the context of argument and rhetoric in which they were generated. In the curators’ attempts to reconcile appropriately the often‐competing demands of the museum market of professional ethics, economics, and contemporary standards of taste and morality, it may be asked whether the National Maritime Museum was passenger or pilot in the stormy waters it encountered through this project. Moreover, what was the true nature and consequence of the unrest: a minor local difficulty or a museological issue of some significance? This article is an attempt, despite the probable partisanship of its author, to explore with some of the objectivity of hindsight these questions and the circumstances in which they arose. ¹     

博物馆文物环境用甲醛净化材料评价方法研究

博物馆文物环境因装饰材料所致甲醛污染以及由此产生对文物危害问题已被普遍关注.为了评价净化材料实际使用中对污染物去除净化能力,搭建了静态试验舱,建立了该环境中甲醛的定量分析方法.研究了甲醛溶液法和人造板散发法两种产生甲醛气体的方法,以及吸附材料不同加入方法等对净化材料评价结果的影响,研究试验舱内甲醛浓度随时间的变化规律,建立了净化材料脱附量检测方法,分别测定了活性炭和三种壳聚糖基净化材料的净化效果.结果表明,用人造板散发法产生甲醛气体方法能用于甲醛净化材料的评价,得到净化率指标反映了净化材料在实际文物环境中的应用效果,脱附量指标能直观比对和反映净化材料对污染物的吸附稳定性.