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Holders of battered memories: Exploring suitcases as museum metaphors for travel, exile, and incarceration 被摧残记忆的承载者:探索作为博物馆旅行、流放和监禁隐喻的手提箱
IF 1 4区 社会学 N/A HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-07-26 DOI: 10.1111/cura.12642
Elizabeth Carnegie, Jerzy Kociatkiewicz
In this article we consider suitcases: ubiquitous objects in museum exhibitions used to signify incarceration as well as involuntary or forced migration. Building on fieldwork from museums and public spaces, we consider how suitcases themselves are consigned to the “attic of memory:” As museum displays or as piles of discarded remnants, offered as vestiges, as witnesses to human loss and suffering at death camps such as Auschwitz. We consider suitcases firstly as aspects of the extended self, as described in Russell Belk's work, and subsequently as symbolic object figuring imprisonment and mobility in museum exhibitions. We present three different such instances: a suitcase full of personal belongings presented to a museum, a set of concrete facsimile suitcases symbolizing forced migration, and a display of suitcases representing individual stories of confinement and migration. Although some of the life stories in the latter exhibition are presented with happy endings, by and large the museum displays featuring suitcases tell of forced movement and forced immobility. This tension animates our analysis, as we explore the double signification of suitcases as markers of mobility, but also of immobility and imprisonment, as well as the intrusive gaze of the state or other voyeur (including the museum visitor). A suitcase is, thus, not just an extension of the self but represents the lost body, for which the museum becomes the final, very public resting place. It becomes and remains an important memory device, even as its very ubiquity threatens to banalize its meaning into a one‐dimensional shortcut.
在这篇文章中,我们探讨了手提箱:博物馆展览中无处不在的物品,用来象征监禁以及非自愿或被迫移民。在对博物馆和公共空间进行实地考察的基础上,我们考虑了旅行箱本身是如何被放置到 "记忆阁楼 "中的:"......"。作为博物馆陈列品或一堆被丢弃的残余物,作为遗迹,作为奥斯威辛等死亡集中营中人类损失和痛苦的见证。正如罗素-贝尔克(Russell Belk)在其著作中所描述的那样,我们首先将手提箱视为扩展自我的一个方面,然后将其视为博物馆展览中象征监禁和流动的物品。我们展示了三个不同的实例:一个装满个人物品的手提箱被赠送给博物馆,一组象征被迫迁徙的具体摹仿手提箱,以及一个代表个人禁锢和迁徙故事的手提箱展览。虽然在后一个展览中,一些生活故事的结局是美好的,但总的来说,博物馆中展示的旅行箱讲述的是被迫迁徙和被迫不动的故事。在我们探讨手提箱的双重含义时,这种紧张关系为我们的分析注入了活力,它既是流动的标志,也是不流动和监禁的标志,同时也是国家或其他窥视者(包括博物馆参观者)的侵入性注视的标志。因此,手提箱不仅是自我的延伸,还代表着失去的身体,而博物馆则成为其最后的、非常公开的安息之地。尽管手提箱的无处不在有可能使其意义平庸化,成为一种一维的捷径,但它仍然是一种重要的记忆工具。
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引用次数: 0
Invisible victims: How children's museums are strengthening families through partnerships with correctional facilities 无形的受害者:儿童博物馆如何通过与惩教机构合作巩固家庭关系
IF 1 4区 社会学 N/A HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-07-26 DOI: 10.1111/cura.12641
Violet Hott, Adrienne Testa, Leslie Bushara
A large and increasing number of children in the United States are systematically rendered invisible due to the effects of parental incarceration, forced to navigate a correctional system that does not often take their particular needs into account. This trauma can put children at risk of long‐term developmental consequences that can be lasting across generations. Two children's museums, among others, are developing unique partnerships to mitigate this negative impact. The Children's Museum of Manhattan has an ongoing partnership with the NYC Department of Correction to reunite incarcerated parents at Rikers Island with their children for an afternoon at the Museum. Hands On Children's Museum in Olympia, Washington, is partnering with the Washington Department of Corrections to redesign the children's area of visiting rooms in three correctional facilities. Anecdotal evidence of strengthened parent–child bonds and improved behavior of parents during incarceration show that early indications of both efforts are positive.
在美国,越来越多的儿童因父母被监禁而被系统性地忽略,他们被迫在往往不考虑其特殊需求的惩教系统中游刃有余。这种创伤会使儿童面临长期发展后果的风险,这种后果可能会持续几代人。除其他博物馆外,两家儿童博物馆正在发展独特的合作关系,以减轻这种负面影响。曼哈顿儿童博物馆与纽约市教养局建立了持续的合作关系,让被关押在莱克斯岛的父母与他们的孩子在博物馆团聚一个下午。华盛顿州奥林匹亚的牵手儿童博物馆正在与华盛顿州教养局合作,重新设计三个教养所探访室的儿童区。亲子关系的加强和父母在监禁期间行为的改善等轶事表明,这两项工作的早期迹象都是积极的。
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引用次数: 0
Objects of “imprisonment”: Diasporic museum collections on ethnographic display 囚禁 "之物:展示民族学的散居地博物馆藏品
IF 1 4区 社会学 N/A HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-07-26 DOI: 10.1111/cura.12648
Bruno Brulon Soares
The article reflects on the place and the narratives in which collections of the Afro‐Brazilian diaspora are inscribed in the context of ethnographic museums in the city of Rio de Janeiro. Presenting a brief sociohistorical analysis of two collections, one in the Civil Police Museum and the other in the Édison Carneiro Folklore Museum, it demonstrates how different regimes of knowledge are used to “imprison” objects of faith as museum objects in the eyes of the police or in those of ethnographers. “Incarcerated” in museums, these collections have been kept by state institutions that frame them either as testimonies of offenses to the public order, or as objects of folklore, religious artifacts disconnected from terreiros. Finally, recurring to a theoretical framework of nonduality to provoke museum's stable categories, the article considers the current transformative role of museums in the “liberation” of a diasporic heritage, by proposing dialogue and collaboration as important elements in the liminal work of musealization. Ultimately, what is at stake in the case of Afro‐Brazilian sacred materials kept in museums is the ability of objects disassociated from their ritual context to transmit the sacred in the museum environment.
这篇文章反映了非洲裔巴西人散居地藏品在里约热内卢市民族博物馆中的地位和叙事。文章对两件藏品(一件藏于民警博物馆,另一件藏于埃迪森-卡内罗民俗博物馆)进行了简要的社会历史分析,展示了不同的知识体系是如何被用来 "囚禁 "信仰物品,使其成为警察或民族学家眼中的博物馆藏品。被 "囚禁 "在博物馆中的这些藏品由国家机构保管,这些机构要么将其视为违反公共秩序的证据,要么将其视为民俗物品,即与 terreiros 无关的宗教文物。最后,文章引用了 "非二元对立 "的理论框架来质疑博物馆的稳定类别,通过提出对话与合作是博物馆化的边缘工作中的重要因素,考虑了博物馆目前在 "解放 "侨民遗产方面的变革作用。归根结底,博物馆中保存的非裔巴西人圣物的关键在于,脱离其仪式背景的物品能否在博物馆环境中传播圣物。
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引用次数: 0
The W‐ICAD model: Redefining museum access through the Workshop for Inclusive Co‐created Audio Description W-ICAD 模式:通过 "共创共融口述影像工作坊 "重新定义博物馆使用权
IF 1 4区 社会学 N/A HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-07-26 DOI: 10.1111/cura.12649
A. Eardley, Vanessa E. Jones, Lindsay Bywood, Hannah Thompson, Deborah Husbands
This research describes the development of the Workshop for Inclusive Co‐created Audio Description (W‐ICAD) model. Research from psychology and neuroscience explains why the assumption that vision is necessarily sufficient to be able to engage with collections is problematic, and why inclusive museum audio description (AD) (referred to as visual or verbal description in the United States) might begin to provide a solution to this problem. At the same time, the growing recognition of the need to diversify voices and narratives within the international museum sector demands a re‐imagining of how museum AD is created, and who creates it. Underpinned by the axioms of Blindness Gain and created through an iterative action research process by a joint UK‐US team of researchers and museum professionals, in collaboration with a broader team of co‐creators, the W‐ICAD model provides museums and the cultural sector with a tool for producing co‐created AD, created by blind, partially blind and sighted individuals for use in museums by blind, partially blind or sighted audiences. The applications for this model are discussed.
这项研究介绍了 "共创包容性语音描述工作坊"(W-ICAD)模式的发展情况。来自心理学和神经科学的研究解释了为什么 "视觉 "是参与藏品的必要条件这一假设存在问题,以及为什么包容性博物馆语音描述(AD)(在美国被称为视觉或语言描述)可能开始为这一问题提供解决方案。与此同时,国际博物馆界日益认识到需要多样化的声音和叙事,这就要求我们重新思考如何制作博物馆语音介绍,以及由谁来制作。W-ICAD 模型以 "盲人收获"(Blindness Gain)公理为基础,由英国和美国的研究人员和博物馆专业人员组成的联合团队与更广泛的共同创作者团队合作,通过迭代行动研究过程创建而成,为博物馆和文化部门提供了一种制作共同创作的广告的工具,由盲人、部分盲人和视力正常的个人创作,供盲人、部分盲人或视力正常的观众在博物馆中使用。本文讨论了这一模式的应用。
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引用次数: 0
Exploring virtual museums: Pre‐service teachers' experiences of virtual museums in gifted and talented education 探索虚拟博物馆:职前教师对资优教育虚拟博物馆的体验
IF 1 4区 社会学 N/A HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-07-25 DOI: 10.1111/cura.12647
Nihat Gürel Kahveci
This study aimed to explore prospective teachers' views and experiences of the utilization of virtual museums for gifted and talented education. The study was conducted at the College of Education of a large Western University in Turkey. The participants were prospective teachers (seniors at the undergraduate level) from the Department of Gifted and Talented Teacher Education, who were expected to become classroom teachers responsible for teaching a wide range of subjects, including reading, mathematics, science, and social studies. Ten prospective teachers voluntarily participated in the study. The study employed a qualitative phenomenological design. The research illuminated the ways in which participants perceived and understood these experiences. This study provided valuable insights into the potential use of virtual museums in the education of gifted students, general education, and teacher education, and considered the positive and negative experiences of pre‐service teachers who have visited virtual museums.
本研究旨在探讨未来教师对利用虚拟博物馆开展资优教育的看法和经验。研究在土耳其西部一所大型大学的教育学院进行。参与者是资优师范教育系的准教师(本科高年级学生),他们将成为负责教授阅读、数学、科学和社会研究等多个学科的任课教师。10 名准教师自愿参与了研究。研究采用了定性现象学设计。研究揭示了参与者感知和理解这些经历的方式。这项研究为虚拟博物馆在资优学生教育、普通教育和师范教育中的潜在应用提供了宝贵的见解,并探讨了参观过虚拟博物馆的职前教师的积极和消极体验。
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引用次数: 0
Other museums: The disruptive potency of curatorship for the emergence of other modes of power, knowing, and being 其他博物馆:策展人对其他权力、认知和存在模式出现的破坏力
IF 1 4区 社会学 N/A HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-06-18 DOI: 10.1111/cura.12639
Elisa Noronha, Michelle Dona

In Brazil, the decolonial turn has prompted a discursive reconfiguration of art museums over the last decade, primarily through exhibitions driven by critical and reparative thinking. Consequently, alternative perspectives have emerged, aiming to propose exhibition narratives rooted in marginalized knowledge and imaginaries. Focusing on the Museu de Arte do Rio (Rio Museum of Art) as a privileged place of thought, this article delves into the curatorial methodologies employed for two exhibitions: Mulheres na Coleção MAR and Casa Carioca. These exhibitions have paved the way for another way of being a museum, holistically committed to its decolonization. While the sustainability of the changes brought about by these exhibitions may be questioned, it is recognized to acknowledge their role in collaborating to establish other interpretative frameworks for understanding local realities, defining as the primary beneficiaries of this process, not the museums themselves but the communities and individuals who grapple with the daily impacts of coloniality.

在巴西,非殖民主义转向在过去十年中促使艺术博物馆进行了话语重组,主要是 通过批判性和补偿性思维驱动的展览。因此,出现了另一种视角,旨在提出植根于边缘化知识和想象的展览叙事。本文以里约艺术博物馆(Museu de Arte do Rio)这一特殊的思考场所为重点,深入探讨了两个展览所采用的策展方法:Mulheres na Coleção MAR 和 Casa Carioca。这些展览为博物馆的另一种方式铺平了道路,全面致力于博物馆的非殖民化。虽然这些展览所带来的变革的可持续性可能会受到质疑,但我们承认它们在合作建立其他解释框架以了解当地现实方面所发挥的作用,并将这一进程的主要受益者定义为不是博物馆本身,而是那些努力应对殖民主义日常影响的社区和个人。
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引用次数: 0
Evaluating museum exhibits: Quantifying visitor experience and museum impact with user experience methodologies 评估博物馆展品:利用用户体验方法量化游客体验和博物馆影响
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2024-06-13 DOI: 10.1111/cura.12637
Ellie King, M. P. Smith, Paul F. Wilson, Janet Stott, M. A. Williams
Underpinned by the Model for Museum Exhibit User Experience (MEUX; King et al., Visitor Studies, 2023, 26, 59), this paper develops and presents an evaluation methodology for museum exhibits that utilizes existing methodologies from the user experience sector adapted for the museum and cultural heritage sectors. Two studies are presented: an in‐depth evaluation of the Meat the Future exhibition at Oxford University Museum of Natural History and then a comparative study between this exhibition and two other permanent exhibits at the museum. Quantitative and qualitative data provide a nuanced picture of each exhibit from the visitor perspective and showcase the benefits of the MEUX methods of evaluation. Results show how three different exhibits are constructed in different ways, providing different visitor experiences and outcomes. They are directly compared with identify statistical differences, but do not impose a judgment as to whether any exhibit is better than another. With detailed, nuanced and rigorous data capturing visitor experiences of engaging with exhibits, the MEUX evaluation methodology allows for more sophisticated, standardized and efficient evaluation practices within the sector, with results that directly support further development of exhibits and exhibitions.
本文以博物馆展览用户体验模型(MEUX;King 等人,《游客研究》,2023,26,59)为基础,开发并介绍了一种博物馆展览评估方法,该方法利用了用户体验领域的现有方法,并将其适用于博物馆和文化遗产领域。本文介绍了两项研究:一项是对牛津大学自然历史博物馆 "肉食未来 "展览的深入评估,另一项是该展览与博物馆其他两个常设展览之间的比较研究。定量和定性数据从参观者的角度对每个展览进行了细致入微的描述,并展示了 MEUX 评估方法的优势。结果显示了三个不同的展品是如何以不同的方式进行构建,为游客提供不同的体验和结果。它们通过直接比较来确定统计差异,但并不强加判断任何展品是否优于其他展品。MEUX 评估方法提供了详细、细致和严谨的数据,记录了参观者与展品接触的体验,使行业内的评估实践更加成熟、规范和高效,其结果直接支持了展品和展览的进一步发展。
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引用次数: 0
Identifying indicators, empathy, and anthropomorphism in zoo visitors' perceptions of animal wellbeing through qualitative interviews 通过定性访谈确定动物园游客对动物福祉看法中的指标、移情和拟人化特征
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2024-06-12 DOI: 10.1111/cura.12635
Wilson C. Sherman, Ashley J. A. Terry, Alison W. Bowers
To achieve their conservation missions, zoos and aquariums must understand how their audiences make judgments about animal wellbeing, as public trust and learning outcomes hinge on the extent to which animals living in these institutions seem well cared for. While previous research has investigated public perceptions of animal wellbeing, the majority of this work has focused on specific species or programs, with few studies employing qualitative research methods. Using qualitative analysis of data from 37 semi‐structured interviews with visitors to the Oakland Zoo, this study explores the indicators visitors used to assess animal wellbeing and the ways visitors employ empathy and anthropomorphism in their thinking about animal wellbeing. Our findings describe the suite of factors influencing visitors' perceptions of animal wellbeing: animal activity, animal habitats, interactions with zoo personnel, and animal health. We also describe the ways interviewees negotiate empathy and anthropomorphism with varying degrees of accuracy and reflectiveness.
为了实现保护动物的使命,动物园和水族馆必须了解受众是如何对动物的福利做出判断的,因为公众的信任和学习成果取决于生活在这些机构中的动物在多大程度上得到了良好的照顾。虽然以往的研究已经调查了公众对动物福利的看法,但这些工作大多集中在特定物种或项目上,很少有研究采用定性研究方法。本研究通过对奥克兰动物园游客进行的 37 次半结构式访谈数据进行定性分析,探讨了游客用来评估动物福利的指标,以及游客在思考动物福利时运用移情和拟人的方式。我们的研究结果描述了影响游客对动物福祉看法的一系列因素:动物活动、动物栖息地、与动物园工作人员的互动以及动物健康。我们还描述了受访者以不同程度的准确性和反思性来协商移情和拟人的方式。
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引用次数: 0
Two‐eyed tinkering with museum practice 两眼一抹黑的博物馆实践
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2024-06-06 DOI: 10.1111/cura.12638
John Fraser
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引用次数: 0
Safeguarding and inheriting intangible cultural heritage music in the Chongqing Three Gorges Reservoir area: A case study on Lore 重庆三峡库区非物质文化遗产音乐的保护与传承:罗尔》个案研究
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2024-06-06 DOI: 10.1111/cura.12636
Su Yang
Safeguarding and inheriting a society's intangible cultural heritage (ICH) music is essential for preserving cultural identity and fostering cultural diversity. A primary motivation for the formation and continuous activities of the heritage preservation community is the concern over losing valuable cultural assets. Incomplete histories, missing documents, and limited access to both tangible and intangible resources are all repercussions of lost heritage, affecting both the public and scholarly sectors. Given the inherent fragility of intangible cultural forms such as dance, language, and music, archives tasked with preserving these records face unique challenges. These forms can easily vanish without proper documentation and preservation, reinforcing the vital role of the relevant organizations. So, this study explores the unique musical traditions of the Chongqing Three Gorges Reservoir area (CTGRA), along with the various methods for protecting and promoting this ICH. In‐depth information on regional musical traditions, as well as the challenges and possibilities related to conserving and transmitting these practices, was gathered via participant observation, interviews, and field study. The major ways of preserving and transmitting ICH music are storytelling and oral practices that connect communities and musical histories and promote their identity. This study reveals several practices of preserving and transmitting ICH music, such as raising awareness of people, encouraging local artists, and using digital media and advanced technology. This study argues that the rich cultural heritage of the CTGRA is preserved and inherited to future generations by implementing strategies that leverage the power of narrative and support the continuation of these musical practices.
保护和传承一个社会的非物质文化遗产(ICH)音乐对于保护文化特性和促进文化多样性至关重要。遗产保护团体的形成和持续活动的主要动机是对宝贵文化资产流失的担忧。不完整的历史、遗失的文献以及对物质和非物质资源的有限利用都是遗产流失的后果,对公众和学术界都有影响。鉴于舞蹈、语言和音乐等非物质文化形式本身的脆弱性,负责保存这些记录的档案馆面临着独特的挑战。如果没有适当的记录和保存,这些形式很容易消失,这就加强了相关组织的重要作用。因此,本研究探讨了重庆三峡库区(CTGRA)独特的音乐传统,以及保护和促进这一非物质文化遗产的各种方法。通过参与观察、访谈和实地考察,收集了有关地区音乐传统的深入信息,以及与保护和传承这些习俗相关的挑战和可能性。保护和传承非物质文化遗产音乐的主要方式是讲故事和口述实践,它们将社区和音乐历史联系起来,并促进其身份认同。本研究揭示了保护和传承非物质文化遗产音乐的几种做法,如提高人们的认识、鼓励本地艺术家、利用数字媒体和先进技术。本研究认为,通过实施利用叙事力量和支持延续这些音乐实践的战略,可以保护 CTGRA 丰富的文化遗产并将其传承给子孙后代。
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引用次数: 0
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