Pub Date : 1900-01-01DOI: 10.21638/spbu27.2022.104
A. Kugusheva
The article is devoted to the evacuation of Crimean museum collections in October, 1941. The fate of the lost pre-war collection of the Simferopol Art Gallery, which did not have time to leave the Crimea and was destroyed by fire in Kerch port, is well known. At the same time, a temporary exhibition made up of the works of the Simferopol Gallery was evacuated from Feodosiya Art Gallery along with the masterpieces of the great marine painter Ivan Aivazovsky. Prominent museum figures Nikolay S.Barsamov and Jan P.Birzgal managed to send the exhibits to Novorossiysk, then to Krasnodar. Contrary to the plans of the Committee for the Arts to take these exhibits to Stalingrad, both Crimean galleries were sent to Yerevan. At the end of 1941, Birzgal compiled a list of 50 salvaged exhibits of the Simferopol Art Gallery. Soviet art of the 1920s–1930s is represented by the works of Igor E.Grabar, Mitrofan B.Grekov, Vladimir A.Eyfert, Peter P.Konchalovsky. The Russian landscape is represented by Vasiliy V.Baksheev, Pavel A.Radimov, Vasiliy V.Rozhdestvensky. From creative trips to Central Asia, Altai and Pamir, new works are brought by Peter I.Kotov and Peter N.Staronosov, Nikolay G.Kotov, Peter D.Pokarzhevsky, Sergei I.Pichugin. The work of Barsamov, the author of the portrait of the artist Bogaevsky (1940), is connected with Crimea. Among the rescued works are the works of Konstantin F.Bogaevsky himself, several of his industrial landscapes, and sketches for the panel Crimea (1921); Bakhchisarai landscapes by Alexander V.Kuprin, Sudak view by Alexander F.Gaush. In the postwar period, the museum workers established the affiliation of works by Ilya E.Repin, Joseph I.Oleshkevich, and Henri-Francois Riesener to the pre-war collection.
这篇文章专门讲述了1941年10月克里米亚博物馆藏品的撤离。辛菲罗波尔美术馆(Simferopol Art Gallery)失去的战前藏品的命运众所周知。这些藏品来不及离开克里米亚，在刻赤港被大火烧毁。与此同时，由辛菲罗波尔画廊的作品组成的临时展览与伟大的海洋画家伊万·艾瓦佐夫斯基的杰作一起从费奥多西亚美术馆撤离。博物馆的杰出人物尼古拉·s·巴尔萨莫夫和扬·p·比兹加尔设法把展品送到新罗西斯克，然后送到克拉斯诺达尔。与艺术委员会将这些展览带到斯大林格勒的计划相反，两个克里米亚画廊都被送到埃里温。1941年底，比兹加尔整理了一份辛菲罗波尔美术馆抢救出来的50件展品的清单。20世纪20年代至30年代的苏联艺术以Igor E.Grabar, Mitrofan B.Grekov, Vladimir A.Eyfert, Peter P.Konchalovsky的作品为代表。俄罗斯的风景画由Vasiliy V.Baksheev, Pavel A.Radimov, Vasiliy V.Rozhdestvensky代表。在中亚、阿尔泰和帕米尔的创意之旅中，彼得·i·科托夫、彼得·n·斯塔罗诺索夫、尼古拉·g·科托夫、彼得·d·波卡尔热夫斯基、谢尔盖·i·皮丘金带来了新的作品。Barsamov是艺术家Bogaevsky(1940)肖像的作者，他的作品与克里米亚有关。被拯救的作品包括康斯坦丁·f·博加耶夫斯基(Konstantin F.Bogaevsky)本人的作品，他的几幅工业风景画，以及克里米亚(Crimea, 1921)的素描;Bakhchisarai景观由Alexander V.Kuprin设计，Sudak景观由Alexander f.g ush设计。在战后时期，博物馆工作人员将伊利亚·e·列宾、约瑟夫·i·奥列什科维奇和亨利·弗朗索瓦·里森纳的作品归入战前收藏。
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Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.209
V. V. Levchenko, Galina Levchenko
The article presents an attempt to illuminate the history of the formation and functioning of the museum network of the Imperial Novorossiya University (1865–1920) on the basis of scientific literature, published documents and historical sources that are introduced into scientific circulation for the first time. The legislative and organizational foundations of the formation of the museum business at the university is revealed and the activities of the leaders and employees of the university museums in the acquisition, processing, storage, exhibiting and use of museum collections in the scientific and educational process is described. The activity, profile and departmental affiliation of museums, their funding and sources of funds formation are characterized. The funds of the museums were divided into expositional, educational and scientific, and in the distribution of emphasis between these complexes, more attention was paid to the scientific and educational significance of the acquired artifacts. All the heads of the museum were representatives of the teaching staff from university faculties. They played a leading role in the educational, methodological, scientific and organizational activities of museums. Their scientific heritage is part of the genesis of many branches of science. In the activities of museums, there were ups and downs caused, first of all, by the instability of funding from the leadership of the university. Dependence on random circumstances and the frequent change of regular staff led to the unevenness of their development. First of all, the situation was saved by donations received both from representatives of the teaching staff, patrons and benefactors, and from ordinary citizens, which testifies to the public’s concern for the fate of the museums of the leading university in the south of the Russian Empire. The closure of the university in 1920 and the subsequent reorganization of museums caused irreparable damage to the process of cultural development.
{"title":"Museums of the Imperial Novorossiya University: The first years of history","authors":"V. V. Levchenko, Galina Levchenko","doi":"10.21638/spbu27.2021.209","DOIUrl":"https://doi.org/10.21638/spbu27.2021.209","url":null,"abstract":"The article presents an attempt to illuminate the history of the formation and functioning of the museum network of the Imperial Novorossiya University (1865–1920) on the basis of scientific literature, published documents and historical sources that are introduced into scientific circulation for the first time. The legislative and organizational foundations of the formation of the museum business at the university is revealed and the activities of the leaders and employees of the university museums in the acquisition, processing, storage, exhibiting and use of museum collections in the scientific and educational process is described. The activity, profile and departmental affiliation of museums, their funding and sources of funds formation are characterized. The funds of the museums were divided into expositional, educational and scientific, and in the distribution of emphasis between these complexes, more attention was paid to the scientific and educational significance of the acquired artifacts. All the heads of the museum were representatives of the teaching staff from university faculties. They played a leading role in the educational, methodological, scientific and organizational activities of museums. Their scientific heritage is part of the genesis of many branches of science. In the activities of museums, there were ups and downs caused, first of all, by the instability of funding from the leadership of the university. Dependence on random circumstances and the frequent change of regular staff led to the unevenness of their development. First of all, the situation was saved by donations received both from representatives of the teaching staff, patrons and benefactors, and from ordinary citizens, which testifies to the public’s concern for the fate of the museums of the leading university in the south of the Russian Empire. The closure of the university in 1920 and the subsequent reorganization of museums caused irreparable damage to the process of cultural development.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116485284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/11701/spbu27.2019.109
Eugenia S. Orlovskaya, Olga N. Khakimulina
{"title":"V. V. Dokuchaev — an outstanding Russian collector","authors":"Eugenia S. Orlovskaya, Olga N. Khakimulina","doi":"10.21638/11701/spbu27.2019.109","DOIUrl":"https://doi.org/10.21638/11701/spbu27.2019.109","url":null,"abstract":"","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125110683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2022.206
O. Filatov
In this article, the author considers the issue related to the restoration of the collection of ship models of the Maritime Museum. He understood that within the framework of this article it is impossible to display all the processes of recreating the collection of models of ships of the second half of the 19th century, and did not set himself the task of describing the work of fleet managers and ship modelers. He set himself a more modest task: to describe the features of the formation of the collection. The author emphasizes that the models included in the collection were made at that time in the Model Chamber in St Petersburg and the Model Workshop of the St Petersburg port. Indicates that both precious wood species and simple and metal were used in their manufacture. The author emphasizes that the Grand Duke Admiral General Konstantin Nikolayevich took an active part in promoting museum exhibitions to the world level. Analyzing the content of the documents, the author concludes that the lost collection of models had to be replenished, and thus restore the missing event series in the history of the Russian Navy. And also that during the reconstruction of the Maritime Museum, objects which were received from different places, were attributed. The article also explains the peculiarities of the formation of the collection of the newly recreated Maritime Museum and the fact that the models made by the masters of the second half of the 19th century are unique today. The author recalls that the reopening of the newly recreated Maritime Museum took place on August 27, 1867, and Lieutenant Nikolai Mikhailovich Baranov was appointed its director on December 31, 1866.
{"title":"Features of the formation of a collection of models of the screw ships of the second half of the 19th century on the basis of the recreated Maritime Museum with the participation of Grand Duke Admiral General Konstantin Nikolaevich Romanov","authors":"O. Filatov","doi":"10.21638/spbu27.2022.206","DOIUrl":"https://doi.org/10.21638/spbu27.2022.206","url":null,"abstract":"In this article, the author considers the issue related to the restoration of the collection of ship models of the Maritime Museum. He understood that within the framework of this article it is impossible to display all the processes of recreating the collection of models of ships of the second half of the 19th century, and did not set himself the task of describing the work of fleet managers and ship modelers. He set himself a more modest task: to describe the features of the formation of the collection. The author emphasizes that the models included in the collection were made at that time in the Model Chamber in St Petersburg and the Model Workshop of the St Petersburg port. Indicates that both precious wood species and simple and metal were used in their manufacture. The author emphasizes that the Grand Duke Admiral General Konstantin Nikolayevich took an active part in promoting museum exhibitions to the world level. Analyzing the content of the documents, the author concludes that the lost collection of models had to be replenished, and thus restore the missing event series in the history of the Russian Navy. And also that during the reconstruction of the Maritime Museum, objects which were received from different places, were attributed. The article also explains the peculiarities of the formation of the collection of the newly recreated Maritime Museum and the fact that the models made by the masters of the second half of the 19th century are unique today. The author recalls that the reopening of the newly recreated Maritime Museum took place on August 27, 1867, and Lieutenant Nikolai Mikhailovich Baranov was appointed its director on December 31, 1866.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131893553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/11701/spbu27.2019.111
I. A. Grin’ko, Tourism “Mosgortur”
{"title":"Museum anthropology: new challenges","authors":"I. A. Grin’ko, Tourism “Mosgortur”","doi":"10.21638/11701/spbu27.2019.111","DOIUrl":"https://doi.org/10.21638/11701/spbu27.2019.111","url":null,"abstract":"","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133121327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.111
Liubov A. Truneva, Local Lore, Yurii V. Puzankov
The article is devoted to the history of the acquisition of collections of the Khorinsky District Museum of History and Local Lore at various stages of its development, from its establishment to the modern period of its activity. The Khorinsky District Museum of History and Local Lore was founded on November 10, 1979. Its appearance testified to the economic and cultural development of the Khorinsky district. The created museum has become one of the centers to spread the district’s culture, accessible to the general population. Modern expositions of the museum make it possible to trace the history of the Khorinsky district at all stages of its existence, covering, among other things, the prehistoric era. Based on information from the inventory book, as well as on the basis of their own memories, the authors reconstruct the sources of museum’s collections after a fire occurred in the museum in December 1984. The damage turned out to be so serious that only 22 items, mostly large-sized ones, such as carts, sledges, and a lathe, were preserved. The restoration work in the museum was carried out under the leadership of director Innokenty Yakovlevich Trunev, whose active work made it possible to practically re-form the museum’s collections. The authors of the article describe in detail the goals pursued by the donors and creators of the items given to the museum. Most of the exhibits were collected as a result of trips. A significant source for the museum’s collections was the result of local residents donating items. Items were handed over to the museum that appear both simple, at first glance, from every day use and unique items, family heirlooms. The republic’s (Buryatia) museums rendered great support in the formation of the museum’s collections. A significant number of items were found as a result of scientific expeditions and subsequently transferred to the museum.
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Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.105
T. Savitskaya
The article demonstrates the influence of the Dusseldorf Art Gallery (1714–1805) on the formation of the Dusseldorf school of painting — one of the leading European schools of the XIX century. The history of the establishment and formation of the collection is briefly considered, and the activities of the founder of the art gallery, Johann Wilhelm (1658–1716), as a reformer of the museum business are characterized. The collection is analyzed, and a significant predominance of works of the Dutch school is noted as its special feature. The author points out that the gallery was primarily a learning center for artists studying at the Dusseldorf Academy of Arts (1773). After Dusseldorf became a part of the Kingdom of Prussia, a new stage began and the gallery was transformed into the Royal Academy of Arts. This happened in 1819, which is officially considered the year when the Dusseldorf school of painting was born. It is noted that the influence of the Dusseldorf school extended far beyond European borders, including Russia and particularly Saratov where the artist A. P. Bogolyubov founded the Radishevsky Museum. He came up with the idea of creating a museum while studying in Dusseldorf. The example of the Dusseldorf Gallery demonstrates the importance of the museum as a collection of samples, the basis for the emergence of the “school” in two meanings — an educational institution and the development of an artistic tradition.
这篇文章展示了杜塞尔多夫美术馆(1714-1805)对杜塞尔多夫画派形成的影响，杜塞尔多夫画派是十九世纪欧洲主要画派之一。简要地考虑了该收藏的建立和形成的历史，并介绍了艺术画廊创始人约翰·威廉(1658-1716)作为博物馆业务改革者的活动特征。对藏品进行了分析，并指出荷兰学派作品的显著优势是其特色。作者指出，该画廊主要是在杜塞尔多夫艺术学院(1773年)学习的艺术家的学习中心。在杜塞尔多夫成为普鲁士王国的一部分之后，一个新的阶段开始了，画廊变成了皇家艺术学院。这件事发生在1819年，这一年被官方认为是杜塞尔多夫绘画学派诞生的一年。值得注意的是，杜塞尔多夫学派的影响远远超出了欧洲边界，包括俄罗斯，特别是萨拉托夫，艺术家A. P. Bogolyubov在那里建立了Radishevsky博物馆。他在杜塞尔多夫学习时萌生了创建博物馆的想法。杜塞尔多夫画廊的例子表明了博物馆作为样本集合的重要性，这是“学校”出现的基础，具有两种含义-教育机构和艺术传统的发展。
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Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.205
Ludmila V. Konkova, Maria V. Speshinskaia-Zorich
The article, in the context of museum affairs, examines a specific phenomenon of material culture, such as hoards of jewelry from the era of Kievan Rus’. Despite the fact that, since the 19th century, these items have been included in the collections of the largest national and foreign museums, and humanitarian sciences have accumulated considerable experience in their comprehensive research, in the field of exhibiting, from the authors’ view, the hoards are still not fully interpreted as exhibits with unique properties. Based on this provision, the article poses the problem of identifying the relationship between the scholarly and museum spheres in order to develop new approaches to actualizing the hoards as sources of information about Ancient Rus’ and presenting them to a wide audience. The article bears a historiographic orientation because in order to solve the problem posed, it is first required to study separately the already accumulated theoretical and practical experience. Accordingly, the article compiles a retrospective review of the hoards’ existence, providing the situational context and history of archaeological excavations. Then, it traces both the process of museum collections’ replenishment and the course of examining, comprehending and reconstruction of hoard complexes within a variety of scholarly disciplines. On the example of permanent exhibitions and temporary projects, the article considers the tendencies of the current experience of exhibiting, in which there is a focus on the subject method of constructing the exposition that does not contribute to the “development of new meanings” and the creative disclosure of the content features of the exhibits. The authors conclude that it is advisable to apply an interdisciplinary approach to the development of conceptions for new exhibitions as a way to more fully reveal the cognitive, ontological and axiological potential of the Ancient Rus’ hoards.
{"title":"Hoards of Kievan Rus’: Research and museumification experience","authors":"Ludmila V. Konkova, Maria V. Speshinskaia-Zorich","doi":"10.21638/spbu27.2021.205","DOIUrl":"https://doi.org/10.21638/spbu27.2021.205","url":null,"abstract":"The article, in the context of museum affairs, examines a specific phenomenon of material culture, such as hoards of jewelry from the era of Kievan Rus’. Despite the fact that, since the 19th century, these items have been included in the collections of the largest national and foreign museums, and humanitarian sciences have accumulated considerable experience in their comprehensive research, in the field of exhibiting, from the authors’ view, the hoards are still not fully interpreted as exhibits with unique properties. Based on this provision, the article poses the problem of identifying the relationship between the scholarly and museum spheres in order to develop new approaches to actualizing the hoards as sources of information about Ancient Rus’ and presenting them to a wide audience. The article bears a historiographic orientation because in order to solve the problem posed, it is first required to study separately the already accumulated theoretical and practical experience. Accordingly, the article compiles a retrospective review of the hoards’ existence, providing the situational context and history of archaeological excavations. Then, it traces both the process of museum collections’ replenishment and the course of examining, comprehending and reconstruction of hoard complexes within a variety of scholarly disciplines. On the example of permanent exhibitions and temporary projects, the article considers the tendencies of the current experience of exhibiting, in which there is a focus on the subject method of constructing the exposition that does not contribute to the “development of new meanings” and the creative disclosure of the content features of the exhibits. The authors conclude that it is advisable to apply an interdisciplinary approach to the development of conceptions for new exhibitions as a way to more fully reveal the cognitive, ontological and axiological potential of the Ancient Rus’ hoards.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114596133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.210
Larisa G. Agamalyan
The article notes the importance of creating the Encyclopedia “Literary Museums of Russia” for writing the history of the phenomenon as a whole and each museum separately. The dictionary proposed by the compilers is the result of a certain inventory of the Literary Museum. Work on the articles of the Encyclopedia made it possible to systematize and update the bibliography, including the latest research and publications. The creation of the encyclopedia facilitated recalling and resurrecting the forgotten names of their creators, as well as museums that have merged with others or have been lost. The Pushkin House Literary Museum includes the collections of the Pushkin Museum at the Imperial Alexander Lyceum, the Lermontov Museum at the Nicholas Cavalry School, the Tolstoy Museum in St. Petersburg, the Pushkin Museum of A. F. Onegin (Otto) in Paris, the Museum of Russian Writers in St. Petersburg created by F. F. Fiedler. The Pushkin House is part of the system of institutions of the Academy of Sciences and its museum has been departmental throughout history, which has determined its complex history. The article recounts the work on articles for the encyclopedia as well as specifics and history of the Literary Museum of the Pushkin House, which sought to create “a special literary pantheon where the relics of Russian writers of the XIX century would be collected and stored.” The vastness of the task determined the structure of its collection and the theme of the exhibition — the first museum of the history of Russian literature. This, in turn, determined the content of 13 articles for the encyclopedia. The exhibition was the first unique experience of illustrating the literary process in a single space. The article highlights the role of the Pushkin House in the formation of the system of literary museums in Russia.
{"title":"Encyclopedia Literary Museums of Russia and the Pushkin House Literary Museum","authors":"Larisa G. Agamalyan","doi":"10.21638/spbu27.2021.210","DOIUrl":"https://doi.org/10.21638/spbu27.2021.210","url":null,"abstract":"The article notes the importance of creating the Encyclopedia “Literary Museums of Russia” for writing the history of the phenomenon as a whole and each museum separately. The dictionary proposed by the compilers is the result of a certain inventory of the Literary Museum. Work on the articles of the Encyclopedia made it possible to systematize and update the bibliography, including the latest research and publications. The creation of the encyclopedia facilitated recalling and resurrecting the forgotten names of their creators, as well as museums that have merged with others or have been lost. The Pushkin House Literary Museum includes the collections of the Pushkin Museum at the Imperial Alexander Lyceum, the Lermontov Museum at the Nicholas Cavalry School, the Tolstoy Museum in St. Petersburg, the Pushkin Museum of A. F. Onegin (Otto) in Paris, the Museum of Russian Writers in St. Petersburg created by F. F. Fiedler. The Pushkin House is part of the system of institutions of the Academy of Sciences and its museum has been departmental throughout history, which has determined its complex history. The article recounts the work on articles for the encyclopedia as well as specifics and history of the Literary Museum of the Pushkin House, which sought to create “a special literary pantheon where the relics of Russian writers of the XIX century would be collected and stored.” The vastness of the task determined the structure of its collection and the theme of the exhibition — the first museum of the history of Russian literature. This, in turn, determined the content of 13 articles for the encyclopedia. The exhibition was the first unique experience of illustrating the literary process in a single space. The article highlights the role of the Pushkin House in the formation of the system of literary museums in Russia.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"188 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114852192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2022.111
Anastasiia A. Korneeva
The article discusses the problem of preparing a block of articles about the regions for the encyclopedia Literary Museums of Russia, which is being developed by the Vladimir Dahl Russian State Literary Museum with the support of the Ministry of Culture of the Russian Federation. The process of preparation for the work is described: existing studies on this topic are analyzed, their deficiencies are revealed. The author develops and demonstrates the structure of an encyclopedia article about a region, which implies an integrated approach, and highlights its main parts with brief characteristics of their content. The features of work on each part of the article are considered: existing sources are described, and troublesome places are indicated. The article analyzes the sources of statistical data, including the existing system of statistical observation, and identifies their gaps, shortcomings and weaknesses that make it difficult to conduct a complete and comprehensive analysis and don’t allow to fully identify the total number of museums; the decisions taken in this regard are described. It is revealed how the general population of literary museums was formed (museums recorded in the dictionary of the encyclopedia, as well as identified in the course of work). The territorial distribution (present condition) and the main quantitative parameters of museums of this profile by regions of the country are presented, taking into account all possible museums of this profile group by type of owner (state and non-state). The most developed regional networks of literary museums are identified, and a rating of regions is compiled indicating the number of museums; regions where there is no network of literary museums are designated. The total number of museums of this profile is revealed, the data are compared with 2016.
{"title":"Revealing the present condition of the literary museums network in Russia, and analyzing peculiar properties of work on a block of articles about the regions for the encyclopedia Literary Museums of Russia","authors":"Anastasiia A. Korneeva","doi":"10.21638/spbu27.2022.111","DOIUrl":"https://doi.org/10.21638/spbu27.2022.111","url":null,"abstract":"The article discusses the problem of preparing a block of articles about the regions for the encyclopedia Literary Museums of Russia, which is being developed by the Vladimir Dahl Russian State Literary Museum with the support of the Ministry of Culture of the Russian Federation. The process of preparation for the work is described: existing studies on this topic are analyzed, their deficiencies are revealed. The author develops and demonstrates the structure of an encyclopedia article about a region, which implies an integrated approach, and highlights its main parts with brief characteristics of their content. The features of work on each part of the article are considered: existing sources are described, and troublesome places are indicated. The article analyzes the sources of statistical data, including the existing system of statistical observation, and identifies their gaps, shortcomings and weaknesses that make it difficult to conduct a complete and comprehensive analysis and don’t allow to fully identify the total number of museums; the decisions taken in this regard are described. It is revealed how the general population of literary museums was formed (museums recorded in the dictionary of the encyclopedia, as well as identified in the course of work). The territorial distribution (present condition) and the main quantitative parameters of museums of this profile by regions of the country are presented, taking into account all possible museums of this profile group by type of owner (state and non-state). The most developed regional networks of literary museums are identified, and a rating of regions is compiled indicating the number of museums; regions where there is no network of literary museums are designated. The total number of museums of this profile is revealed, the data are compared with 2016.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128527941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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