Pub Date : 2023-04-26DOI: 10.5604/01.3001.0053.4179
Antoni Krzysztof Sobczak, Izabela Prokopczuk-Runowska
Following a long disease, on 12 December 2022,Zbigniew Wawer passed away: a historian, boasting a postdoctoraldegree, an associate professor, author of numerouspublications, and a film producer. In 20122017, he ran thePolish Army Museum in Warsaw, as of 2017 having becomeDirector of the Royal azienki Museum. The period of hiscareer connected with museology was marked by the processof establishing contacts with international partners focusedmainly on presenting research results. It was also characterizedby a high dynamics of displays meant to expose some uniqueartefacts, particularly Polonica, and of publishing projects.He considered these two aspects the most important in fulfillingthe museums mission. Prof. Wawer also paid similar attentionto collection extension, having demonstrated high efficiency infundraising for the purpose. Furthermore, he strongly optedfor the upgrading of his staffs qualifications, while also seeingthe necessity to verify museum-related competences. Manymuseum curators followed his encouragement to study. Thepaper presents the profile of a widely known individual in moredetail; he was a researcher focused on revealing the historicaltruth and a museum curator frequently appreciated for hisactivity.
{"title":"PROFESSOR ZBIGNIEW WAWER, A MUSEUMCURATOR","authors":"Antoni Krzysztof Sobczak, Izabela Prokopczuk-Runowska","doi":"10.5604/01.3001.0053.4179","DOIUrl":"https://doi.org/10.5604/01.3001.0053.4179","url":null,"abstract":"Following a long disease, on 12 December 2022,Zbigniew Wawer passed away: a historian, boasting a postdoctoraldegree, an associate professor, author of numerouspublications, and a film producer. In 20122017, he ran thePolish Army Museum in Warsaw, as of 2017 having becomeDirector of the Royal azienki Museum. The period of hiscareer connected with museology was marked by the processof establishing contacts with international partners focusedmainly on presenting research results. It was also characterizedby a high dynamics of displays meant to expose some uniqueartefacts, particularly Polonica, and of publishing projects.He considered these two aspects the most important in fulfillingthe museums mission. Prof. Wawer also paid similar attentionto collection extension, having demonstrated high efficiency infundraising for the purpose. Furthermore, he strongly optedfor the upgrading of his staffs qualifications, while also seeingthe necessity to verify museum-related competences. Manymuseum curators followed his encouragement to study. Thepaper presents the profile of a widely known individual in moredetail; he was a researcher focused on revealing the historicaltruth and a museum curator frequently appreciated for hisactivity.","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41249024","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 : 2023-04-14DOI: 10.5604/01.3001.0053.4030
Jakub Linetty
The date 17 November 2022 marked the deathof Prof. Andrzej Marek Wyrwa, a historian and archaeologist,a long-standing professor at the Adam Mickiewicz Universityin Poznan, and Director of the Museum of the First Piasts atLednica. Born on 22 March 1955 in Krzy Wielkopolski, hegraduated in history (1978) and archaeology (1981) from theAdam Mickiewicz University in Poznan. Bonded with his almamater in his scholarly activity, where he worked uninterruptedlyas of 1984, he was conferred doctoral degree in 1985, postdoctoraldegree in 1996, and became professor in 2004. Havingheaded the ekno Archaeological Expedition in 19822008,he conducted excavations at 3 archaeological site at eknonear Wgrowiec which resulted in a spectacular discoveryof pre-Romanesque rotunda relics dating back to the Early--Piast monarchy, of a stronghold, and of a Cistercian monasteryfounded in 1153. In many aspects that research into the wholesettlement complex around ekno was trailblazing, extensive,and interdisciplinary. Having become Director of the Museumof the First Piasts at Lednica in 2008, over the 14 years of hiscontribution to that institution he implemented crucial projectsenabling its operation. In 2013, he extended the archaeologicalreserves at Ostrw Lednicki, Giecz, and Grzybowo. He alsoextended the Dziekanowice seat of the Museum making thedream of generations of Polish scholars and museologistscome true: to have Ostrw Lednickis Piasts heritage proudlymanifested. Not so long ago, since on 7 October 2022, togetherwith Prof. Wyrwa we happily celebrated the launch of the newMuseum building. Furthermore, his academic legacy containsover 625 academic studies, works for general public, and piecesof feature writing.
2022年11月17日是历史学家和考古学家Andrzej Marek Wyrwa教授去世的日子，他是波兹南Adam Mickiewicz大学的长期教授，也是Lednica第一伯爵博物馆的馆长。1955年3月22日出生于Krzy Wielkopolski，曾在波兹南的阿达姆-米克维奇大学攻读历史（1978年）和考古学（1981年）。他在学术活动中与母校结下了不解之缘，自1984年起一直在母校工作，1985年被授予博士学位，1996年被授予博士后学位，2004年成为教授。19822008年，他领导了埃克诺考古考察队，在埃克诺纳尔·沃格罗维奇的3个考古遗址进行了发掘，发现了一个壮观的前罗马式圆形大厅遗迹，可以追溯到早期的皮亚斯特君主制，一个据点，以及一个建于1153年的西多会修道院。在许多方面，对埃克诺周围的整体定居点综合体的研究具有开拓性、广泛性和跨学科性。2008年，他成为莱德尼卡第一伯爵博物馆的馆长，在他为该机构做出贡献的14年里，他实施了促进其运作的关键项目。2013年，他扩展了在Ostrow Lednicki、Giecz和Grzybowo的考古研究。他还扩建了博物馆的Dziekanowice所在地，使几代波兰学者和博物馆学家的梦想成真：让奥斯特罗·莱德尼基斯·皮亚斯的遗产得以彰显。不久前，自2022年10月7日起，我们与Wyrwa教授一起愉快地庆祝了新博物馆大楼的落成。此外，他的学术遗产包括625项学术研究、为公众服务的作品和专题文章。
{"title":"PROFESSOR ANDRZEJ MAREK WYRWA(19552022), DIRECTOR OF THE MUSEUMOF THE FIRST PIASTS AT LEDNICA","authors":"Jakub Linetty","doi":"10.5604/01.3001.0053.4030","DOIUrl":"https://doi.org/10.5604/01.3001.0053.4030","url":null,"abstract":"The date 17 November 2022 marked the deathof Prof. Andrzej Marek Wyrwa, a historian and archaeologist,a long-standing professor at the Adam Mickiewicz Universityin Poznan, and Director of the Museum of the First Piasts atLednica. Born on 22 March 1955 in Krzy Wielkopolski, hegraduated in history (1978) and archaeology (1981) from theAdam Mickiewicz University in Poznan. Bonded with his almamater in his scholarly activity, where he worked uninterruptedlyas of 1984, he was conferred doctoral degree in 1985, postdoctoraldegree in 1996, and became professor in 2004. Havingheaded the ekno Archaeological Expedition in 19822008,he conducted excavations at 3 archaeological site at eknonear Wgrowiec which resulted in a spectacular discoveryof pre-Romanesque rotunda relics dating back to the Early--Piast monarchy, of a stronghold, and of a Cistercian monasteryfounded in 1153. In many aspects that research into the wholesettlement complex around ekno was trailblazing, extensive,and interdisciplinary. Having become Director of the Museumof the First Piasts at Lednica in 2008, over the 14 years of hiscontribution to that institution he implemented crucial projectsenabling its operation. In 2013, he extended the archaeologicalreserves at Ostrw Lednicki, Giecz, and Grzybowo. He alsoextended the Dziekanowice seat of the Museum making thedream of generations of Polish scholars and museologistscome true: to have Ostrw Lednickis Piasts heritage proudlymanifested. Not so long ago, since on 7 October 2022, togetherwith Prof. Wyrwa we happily celebrated the launch of the newMuseum building. Furthermore, his academic legacy containsover 625 academic studies, works for general public, and piecesof feature writing.","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45058775","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 : 2023-03-21DOI: 10.5604/01.3001.0016.3188
Wiktoria Tombarkiewicz
In 1958, on the occasion of the 40th anniversaryof the Silesian Uprisings, the administration of the KatowiceVoivodeship decided to create the Silesian Panorama: aninstitution combining a museum of insurgents mementoes,the Battle of Annaberg Panorama, and the first in Polandpanoramic cinema. The plans entailed establishing a museum-and-educational institution, pioneer in its character,not merely in Poland. Since the infrastructure ofmemory, finally unaccomplished, has never been discussedin literature, the first part of the paper speaks about thecourse of the organizational works, the stage of shaping theproject, as well as the reasons for giving up the idea. Thenecessary information was provided by materials preserved inthe State Archives in Katowice as well as in press releases.The planned commemoration was presented in the contextof the development of the technology of panoramic cinemaand its application in museum praxis; its role in the historyof the efforts to create a permanent display of mementoesof Silesian Uprisings in the Katowice Voivodeship has beendiscussed, and so have the sources of the projects originatorto reach for the genre of a panoramic painting, in thediscussed period considered anachronical.
{"title":"PANORAMA OF THE UPRISING. THE NEVER-CREATED MUSEUM MONUMENT TO SILESIASPOLISHNESS","authors":"Wiktoria Tombarkiewicz","doi":"10.5604/01.3001.0016.3188","DOIUrl":"https://doi.org/10.5604/01.3001.0016.3188","url":null,"abstract":"In 1958, on the occasion of the 40th anniversaryof the Silesian Uprisings, the administration of the KatowiceVoivodeship decided to create the Silesian Panorama: aninstitution combining a museum of insurgents mementoes,the Battle of Annaberg Panorama, and the first in Polandpanoramic cinema. The plans entailed establishing a museum-and-educational institution, pioneer in its character,not merely in Poland. Since the infrastructure ofmemory, finally unaccomplished, has never been discussedin literature, the first part of the paper speaks about thecourse of the organizational works, the stage of shaping theproject, as well as the reasons for giving up the idea. Thenecessary information was provided by materials preserved inthe State Archives in Katowice as well as in press releases.The planned commemoration was presented in the contextof the development of the technology of panoramic cinemaand its application in museum praxis; its role in the historyof the efforts to create a permanent display of mementoesof Silesian Uprisings in the Katowice Voivodeship has beendiscussed, and so have the sources of the projects originatorto reach for the genre of a panoramic painting, in thediscussed period considered anachronical.","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44265758","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 : 2023-03-02DOI: 10.5604/01.3001.0016.2878
R. Drozd
In 1947, as the result of the Vistula Operation,Lemkos were resettled to the Western and NorthernTerritories of Poland, this making them abandon their materialpossessions which remained at their former domicile proneto devastation. Certain Lemkos resented those developmentsto the extent that following 1956 some returned to theirnative land, determined to save their tangible and intangibleculture. Amateur artistic projects were revived, and itwas decided that traces of Lemko tangible heritage wereto be taken care of. This led to the concept of creating anethnographic Lemko museum. In 1968, using Teodor Goczsfarmstead at Zyndranowa, a memento hall was created; itlater assumed the name of the Museum of Lemko Culture.The institution continuously faced challenges: it lackedfinancing and factual supervision for its operation. Despitethis, the Museum collection continued growing, and newbuildings were safeguarded for the purpose. The Museumscreators aimed not only at preserving and displaying tracesof Lemko tangible heritage, but also at maintaining bonds ofthe displaced Lemkos with their former homeland. Withtime, the Museum also began playing an important role inpreserving the Lemko ethnic identity.
{"title":"MUSEUM OF LEMKO CULTURE AT ZYNDRANOWA","authors":"R. Drozd","doi":"10.5604/01.3001.0016.2878","DOIUrl":"https://doi.org/10.5604/01.3001.0016.2878","url":null,"abstract":"In 1947, as the result of the Vistula Operation,Lemkos were resettled to the Western and NorthernTerritories of Poland, this making them abandon their materialpossessions which remained at their former domicile proneto devastation. Certain Lemkos resented those developmentsto the extent that following 1956 some returned to theirnative land, determined to save their tangible and intangibleculture. Amateur artistic projects were revived, and itwas decided that traces of Lemko tangible heritage wereto be taken care of. This led to the concept of creating anethnographic Lemko museum. In 1968, using Teodor Goczsfarmstead at Zyndranowa, a memento hall was created; itlater assumed the name of the Museum of Lemko Culture.The institution continuously faced challenges: it lackedfinancing and factual supervision for its operation. Despitethis, the Museum collection continued growing, and newbuildings were safeguarded for the purpose. The Museumscreators aimed not only at preserving and displaying tracesof Lemko tangible heritage, but also at maintaining bonds ofthe displaced Lemkos with their former homeland. Withtime, the Museum also began playing an important role inpreserving the Lemko ethnic identity.","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42502354","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 : 2023-02-03DOI: 10.5604/01.3001.0016.2452
Michał F. Woźniak
The Museum of Krakow, until recently theHistorical Museum of the City of Krakow, ranks amongthe largest Polish museums, not only within the group ofmunicipal museums. It boasts an exceptionally developedinfrastructure and a high number of thematic branches, as wellas multifaceted operations. The analysed monograph, authoredby the Museums current Director, presents a long and tedious,albeit systematic process of the Museums development overthe period of more than a hundred years within the contextof numerous external conditionings, with the emphasis on theMuseums role and importance for the city community and forits culture. Underlining the obvious advantages of the bookand its sizeable factual value, as well as balanced opinions,the reviewer, however, observes its certain defaults anddeficiencies, while also formulating a number of more generalviews going beyond the very matter of the book-related review.The extensive publication in question certainly encourages suchan approach, this unquestionably adding another to its merits.
{"title":"THE MUSEUM OF KRAKOW.ON THE BOOK BY MICHA NIEZABITOWSKI","authors":"Michał F. Woźniak","doi":"10.5604/01.3001.0016.2452","DOIUrl":"https://doi.org/10.5604/01.3001.0016.2452","url":null,"abstract":"The Museum of Krakow, until recently theHistorical Museum of the City of Krakow, ranks amongthe largest Polish museums, not only within the group ofmunicipal museums. It boasts an exceptionally developedinfrastructure and a high number of thematic branches, as wellas multifaceted operations. The analysed monograph, authoredby the Museums current Director, presents a long and tedious,albeit systematic process of the Museums development overthe period of more than a hundred years within the contextof numerous external conditionings, with the emphasis on theMuseums role and importance for the city community and forits culture. Underlining the obvious advantages of the bookand its sizeable factual value, as well as balanced opinions,the reviewer, however, observes its certain defaults anddeficiencies, while also formulating a number of more generalviews going beyond the very matter of the book-related review.The extensive publication in question certainly encourages suchan approach, this unquestionably adding another to its merits.","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45086037","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 : 2023-01-25DOI: 10.5604/01.3001.0016.2307
Radosław Skrycki
The papers first part spoke about the foundingof the Regional Museum in Barlinek and the first 15 yearsof its operation as seen against regional museology. TheMuseums operation was based on the activity of its founderCzesaw Panik. Over the last period under his management,and subsequently under his successor Jzef Krupa, theMuseum was given the opportunity to acquire a uniquecollection and become an institution of a national impact:by acquiring the legacy of the writer, member of the pre-WWII Kwadryga literary group Stefan Flukowski. Subsequently,an attempt was made to mount an exhibition and a museumof the Woldenberg Prisoners (Polish officers from Oflag II C inWoldenberg/Dobiegniew). In both cases the attempts werethwarted by central institutions: the District and MunicipalPublic Library in Szczecin and the organization representingformer Woldenberg prisoners. These institutions evidentlypatronized the Barlinek Museum, failing to take local needsas well as historical and social contexts into consideration.The ambiguous attitude of those centres accompanied byuntransparent circumstances of acquiring the collections hadtheir short- and long-term impact, essentially leading to thelimitation of the Barlinek Museums offer.
论文的第一部分讲述了巴林内克地区博物馆的成立，以及它与地区博物馆学相对应的运作的前15年。博物馆的运作是基于其创始人切索·帕尼克的活动。在他管理的最后一段时间里，以及随后在他的继任者Jzef Krupa的领导下，博物馆有机会获得一个独特的收藏，并成为一个具有全国影响力的机构：通过获得作家的遗产，这位作家是二战前夸德里加文学团体Stefan Flukowski的成员。随后，有人试图举办一个Woldenberg囚犯展览和博物馆（来自Woldenberg/Dobigniew的Oflag II C的波兰军官）。在这两起案件中，中央机构都挫败了这些企图：什切青的区和市公共图书馆以及代表沃尔登贝格囚犯的组织。这些机构显然削弱了巴林内克博物馆，没有考虑到当地的需求以及历史和社会背景。这些中心的模糊态度，加上收购藏品的不透明环境，产生了短期和长期的影响，基本上导致了巴林内克博物馆的报价受到限制。
{"title":"MUSEUM OF THE MISSED OPPORTUNITIES(60 YEARS OF THE REGIONAL MUSEUMIN BARLINEK, P. 2)","authors":"Radosław Skrycki","doi":"10.5604/01.3001.0016.2307","DOIUrl":"https://doi.org/10.5604/01.3001.0016.2307","url":null,"abstract":"The papers first part spoke about the foundingof the Regional Museum in Barlinek and the first 15 yearsof its operation as seen against regional museology. TheMuseums operation was based on the activity of its founderCzesaw Panik. Over the last period under his management,and subsequently under his successor Jzef Krupa, theMuseum was given the opportunity to acquire a uniquecollection and become an institution of a national impact:by acquiring the legacy of the writer, member of the pre-WWII Kwadryga literary group Stefan Flukowski. Subsequently,an attempt was made to mount an exhibition and a museumof the Woldenberg Prisoners (Polish officers from Oflag II C inWoldenberg/Dobiegniew). In both cases the attempts werethwarted by central institutions: the District and MunicipalPublic Library in Szczecin and the organization representingformer Woldenberg prisoners. These institutions evidentlypatronized the Barlinek Museum, failing to take local needsas well as historical and social contexts into consideration.The ambiguous attitude of those centres accompanied byuntransparent circumstances of acquiring the collections hadtheir short- and long-term impact, essentially leading to thelimitation of the Barlinek Museums offer.","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48782333","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 : 2023-01-17DOI: 10.5604/01.3001.0053.9266
Aleksandra Siuciak
The paper describes actions and experiencesof the Malbork Castle Museum as part of the InvestigatingPolish War Losses Programme implemented by the Ministryof Culture and National Heritage since 2018, and codenamed‘#ProjektStraty’. Thanks to the participation in the Programme,the Museum has been systematically investigating the warlosses and dispersed collections of the Malbork Castle.A particular emphasis has been put on the availability ofsources, their identification, studying, and providing variousforms of access to them in provenance studies.
{"title":"ENDEAVOURS OF THE MALBORK CASTLE MUSEUMWITH RESPECT TO MALBORK CASTLE’S WAR LOSSES","authors":"Aleksandra Siuciak","doi":"10.5604/01.3001.0053.9266","DOIUrl":"https://doi.org/10.5604/01.3001.0053.9266","url":null,"abstract":"The paper describes actions and experiencesof the Malbork Castle Museum as part of the InvestigatingPolish War Losses Programme implemented by the Ministryof Culture and National Heritage since 2018, and codenamed‘#ProjektStraty’. Thanks to the participation in the Programme,the Museum has been systematically investigating the warlosses and dispersed collections of the Malbork Castle.A particular emphasis has been put on the availability ofsources, their identification, studying, and providing variousforms of access to them in provenance studies.","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135594622","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 : 2022-10-28DOI: 10.5604/01.3001.0016.0748
Gabriela Manista
Virtual exhibitions have become a tool increasingly more frequently applied by Polish museums in order to reach a wider public. Using cyberdisplays as a digital product, not only do the institutions disseminate knowledge of their collection, but also reach new public. The potential and challenges entailed in designing e-museums have been a topic vivid in museology since the late 1990s. During the COVID-19 pandemic the discussion on tasks and purposes of digital displays was resumed. The paper presents the results of the CAWI research among visitors of digital museums; it also points to their motivation, while analysing the demand for such tools classifying individuals who use them into various categories.
{"title":"VISITORS OF ONLINE MUSEUMS: ANALYSIS\u0000OF THE PUBLIC OF VIRTUAL EXHIBITIONS\u0000IN POLAND","authors":"Gabriela Manista","doi":"10.5604/01.3001.0016.0748","DOIUrl":"https://doi.org/10.5604/01.3001.0016.0748","url":null,"abstract":"Virtual exhibitions have become a tool increasingly\u0000more frequently applied by Polish museums in order to reach\u0000a wider public. Using cyberdisplays as a digital product, not\u0000only do the institutions disseminate knowledge of their\u0000collection, but also reach new public. The potential and\u0000challenges entailed in designing e-museums have been a topic\u0000vivid in museology since the late 1990s. During the COVID-19\u0000pandemic the discussion on tasks and purposes of digital\u0000displays was resumed. The paper presents the results of the\u0000CAWI research among visitors of digital museums; it also points\u0000to their motivation, while analysing the demand for such tools\u0000classifying individuals who use them into various categories.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41596731","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 : 2022-10-28DOI: 10.5604/01.3001.0016.0749
Marianna Otmianowska, Izabela Bukalska
The term ‘social responsibility of museums’ implies various associations, most frequently referring to the sphere of management and the activities of commercial entities in accordance with the ISO 26000 standard. In this article, we report on some of the tasks performed in connection with a project based on a sociological perspective and addressing the social responsibility of public cultural institutions such as museums. As this concept is relatively new, we decided to check how it is understood in the social world of Polish museum professionals. The research was therefore carried out using elements of the grounded theory methodology, i.e., the concepts (categories) were not defined at the outset, but defined and characterised in the course of the research according to the understanding of the respondents. Using a triangulation of methods, an analysis of found data, individual interviews in Polish museums (IDI) and focus group interviews (FGI) in Polish and international groups were conducted. A particularly interesting strand of the Project was museum education and its growing importance. This article focuses on the conducted focus group interviews (FGI). A specific commentary on the findings is provided by the reflections given during a guest lecture by Dr Bernadette Lynch organised as part of the Project.
{"title":"SOCIAL RESPONSIBILITY OF PUBLIC CULTURAL\u0000INSTITUTIONS – THE EXAMPLE OF MUSEOLOGY.\u0000OBSERVATIONS, REFLECTIONS AND\u0000PRELIMINARY ANALYSIS – SUMMARY OF THE\u0000FOCUS GROUP STAGE","authors":"Marianna Otmianowska, Izabela Bukalska","doi":"10.5604/01.3001.0016.0749","DOIUrl":"https://doi.org/10.5604/01.3001.0016.0749","url":null,"abstract":"The term ‘social responsibility of museums’\u0000implies various associations, most frequently referring to\u0000the sphere of management and the activities of commercial\u0000entities in accordance with the ISO 26000 standard. In\u0000this article, we report on some of the tasks performed in\u0000connection with a project based on a sociological perspective\u0000and addressing the social responsibility of public\u0000cultural institutions such as museums. As this concept is\u0000relatively new, we decided to check how it is understood\u0000in the social world of Polish museum professionals. The\u0000research was therefore carried out using elements of\u0000the grounded theory methodology, i.e., the concepts\u0000(categories) were not defined at the outset, but defined and\u0000characterised in the course of the research according to the\u0000understanding of the respondents. Using a triangulation of\u0000methods, an analysis of found data, individual interviews\u0000in Polish museums (IDI) and focus group interviews\u0000(FGI) in Polish and international groups were conducted.\u0000A particularly interesting strand of the Project was museum\u0000education and its growing importance. This article focuses\u0000on the conducted focus group interviews (FGI). A specific\u0000commentary on the findings is provided by the reflections\u0000given during a guest lecture by Dr Bernadette Lynch\u0000organised as part of the Project.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45948914","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 : 2022-10-19DOI: 10.5604/01.3001.0016.0556
Aneta I. Oborny
Alojzy Oborny (1933–2022) was an art historian (MA 1955), assistant at the Pszczyna Castle Museum (1955– 1958), Head of the Raciborz Museum (1958–1961), a longstanding director of the Świętokrzyskie Museum, as of 1975 Director of the National Museum in Kielce (1961–1987, 1990– 2002), Deputy Director for Research at the National Museum in Krakow (1987–1990). A co-organizer and honorary member of the Kielce Branch of the Polish Art Historian Association, he was a long-standing member of the Council for Museums at the Ministry of Culture, as well as the president and a member of museum councils. He co-founded the Rotary Club in Kielce of which he was a member. As an art disseminator, he cooperated with Kielce dailies and cultural periodicals, as well as with the Kielce Radio. It was thanks to his efforts that the Former Palace of Cracow Bishops in Kielce was allocated to the Świętokrzyskie Museum (1971) which he subsequently raised to the dignity of the National Museum (1975). An active organizer of museum life, from the 1970s he initiated and co-organized an international cultural exchange, locating the Kielce museum collection and the offer of the Kielce Museum within the realm of Europeans culture. An expert in Polish painting, he created the Gallery of Polish Painting of the National Museum in Kielce. Oborny authored and co-authored museum exhibitions as well as several dozen publications and books on art, particularly Polish painting.
{"title":"ALOJZY OBORNY (1933–2022) IN HIS WIFE’S POST\u0000MORTEM","authors":"Aneta I. Oborny","doi":"10.5604/01.3001.0016.0556","DOIUrl":"https://doi.org/10.5604/01.3001.0016.0556","url":null,"abstract":"Alojzy Oborny (1933–2022) was an art historian\u0000(MA 1955), assistant at the Pszczyna Castle Museum (1955–\u00001958), Head of the Raciborz Museum (1958–1961), a longstanding\u0000director of the Świętokrzyskie Museum, as of 1975\u0000Director of the National Museum in Kielce (1961–1987, 1990–\u00002002), Deputy Director for Research at the National Museum\u0000in Krakow (1987–1990). A co-organizer and honorary member\u0000of the Kielce Branch of the Polish Art Historian Association, he\u0000was a long-standing member of the Council for Museums at\u0000the Ministry of Culture, as well as the president and a member\u0000of museum councils. He co-founded the Rotary Club in Kielce of\u0000which he was a member. As an art disseminator, he cooperated\u0000with Kielce dailies and cultural periodicals, as well as with the\u0000Kielce Radio. It was thanks to his efforts that the Former Palace\u0000of Cracow Bishops in Kielce was allocated to the Świętokrzyskie\u0000Museum (1971) which he subsequently raised to the dignity of\u0000the National Museum (1975). An active organizer of museum life,\u0000from the 1970s he initiated and co-organized an international\u0000cultural exchange, locating the Kielce museum collection and\u0000the offer of the Kielce Museum within the realm of Europeans\u0000culture. An expert in Polish painting, he created the Gallery\u0000of Polish Painting of the National Museum in Kielce. Oborny\u0000authored and co-authored museum exhibitions as well as several\u0000dozen publications and books on art, particularly Polish painting.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48257138","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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