Museums can no longer pretend to be mere containers of art or other cultural treasures; their fascinating legacy for posterity is definitely not just the respective collection, but also its idiosyncratic articulation and ulterior resignification. This essay surveys sifting trends in the re-staging of modern museographies; but instead of using New York’s MoMA as the obvious paradigm, pride of place is given here to the Muzeum Sztuki in Łódź (Poland). Its original Neoplastic Hall survived only from June 1948 until October 1950; but it was reconstructed ten years later, prefiguring other museographical remakes of avant-garde art displays. Thereafter, it also became, in many ways, a typical example characterising postmodern museological trends. All in all, it could perhaps be discussed nowadays in the light of critical museology as a referential case in the history of heritagised museographies
{"title":"Avant-garde art display recreations historised: Muzeum Sztuki in Łódź as a referential case?","authors":"J. Lorente","doi":"10.46284/mkd.2021.9.3.1","DOIUrl":"https://doi.org/10.46284/mkd.2021.9.3.1","url":null,"abstract":"Museums can no longer pretend to be mere containers of art or other cultural treasures; their fascinating legacy for posterity is definitely not just the respective collection, but also its idiosyncratic articulation and ulterior resignification. This essay surveys sifting trends in the re-staging of modern museographies; but instead of using New York’s MoMA as the obvious paradigm, pride of place is given here to the Muzeum Sztuki in Łódź (Poland). Its original Neoplastic Hall survived only from June 1948 until October 1950; but it was reconstructed ten years later, prefiguring other museographical remakes of avant-garde art displays. Thereafter, it also became, in many ways, a typical example characterising postmodern museological trends. All in all, it could perhaps be discussed nowadays in the light of critical museology as a referential case in the history of heritagised museographies","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70479917","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}
Surprise me Softly: The Element of Surprise in Designing Museum Experiences Experience design has become a widely discussed topic. Museums use experience design for engaging their visitors and culture offers exceptional tools for it. Visual arts and music are particularly effective in eliciting visitors’ emotions. However, there are a number of visual and acoustic cues that influence museum visitor response behaviours. Understanding the ways in which the human brain processes information provides a basis for furthering experience design principles. This study focuses on the emotion of surprise, considered especially effective for engaging visitor attention, providing meaning and affecting memory. The methodology involved monitoring psychophysiological responses and selfreports to assess research participants’ reactions to visual/acoustic stimuli. The aim was to confirm/ detect types of sensory stimuli that generate the emotion of surprise, to see if participants have similar reactions to stimuli and whether individuals’ self-reports are aligned with their psychophysiological reactions. The results showed that musical stimuli are more effective than visual arts in eliciting surprise. While the study showed no clear indications that visual cues have an effect on surprise, musical cues, such as rapid attack, large pitch variation, higher harmonics, slow tempo with a sudden interruption, and sudden change in loudness do seem to play a role. Other cues, such as major key, 4/4 meter, timbral difference, and diatonic harmony also have an impact on the elicitation of surprise. These are important implications for designing museum experiences.
{"title":"Surprise me Softly: The Element of Surprise in Designing Museum Experiences","authors":"D. A. Jelinčić, Karla Jelinčić","doi":"10.46284/MKD.2021.9.1.1","DOIUrl":"https://doi.org/10.46284/MKD.2021.9.1.1","url":null,"abstract":"Surprise me Softly: The Element of Surprise in Designing Museum Experiences Experience design has become a widely discussed topic. Museums use experience design for engaging their visitors and culture offers exceptional tools for it. Visual arts and music are particularly effective in eliciting visitors’ emotions. However, there are a number of visual and acoustic cues that influence museum visitor response behaviours. Understanding the ways in which the human brain processes information provides a basis for furthering experience design principles. This study focuses on the emotion of surprise, considered especially effective for engaging visitor attention, providing meaning and affecting memory. The methodology involved monitoring psychophysiological responses and selfreports to assess research participants’ reactions to visual/acoustic stimuli. The aim was to confirm/ detect types of sensory stimuli that generate the emotion of surprise, to see if participants have similar reactions to stimuli and whether individuals’ self-reports are aligned with their psychophysiological reactions. The results showed that musical stimuli are more effective than visual arts in eliciting surprise. While the study showed no clear indications that visual cues have an effect on surprise, musical cues, such as rapid attack, large pitch variation, higher harmonics, slow tempo with a sudden interruption, and sudden change in loudness do seem to play a role. Other cues, such as major key, 4/4 meter, timbral difference, and diatonic harmony also have an impact on the elicitation of surprise. These are important implications for designing museum experiences.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478876","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}
According to studies on family leisure time, positive experiences with family members are the most important motivation factor for family leisure activities. In their traditional role, museums are cultural mediators, sources of information and research. However, as the needs of consumers with regards to museums are changing, institutions should instead focus on the opportunity to participate, learn and experience. The aim of our study is to identify key elements that make a museum family friendly and to define criteria for this designation. The framework was constructed based on the analysis of in-depth interviews with families with constructive grounded theory. The study’s findings highlight the need for museums to pay attention to families not only during their visit but also in the preparation and follow-up phases. The managerial implications for museums that would like to be family-friendly are discussed and solutions proposed.
{"title":"The Family-Friendly Museum: Museums through the eyes of families","authors":"K. Ásványi, Zsuzsanna Fehér, M. Jászberényi","doi":"10.46284/MKD.2021.9.1.2","DOIUrl":"https://doi.org/10.46284/MKD.2021.9.1.2","url":null,"abstract":"According to studies on family leisure time, positive experiences with family members are the most important motivation factor for family leisure activities. In their traditional role, museums are cultural mediators, sources of information and research. However, as the needs of consumers with regards to museums are changing, institutions should instead focus on the opportunity to participate, learn and experience. The aim of our study is to identify key elements that make a museum family friendly and to define criteria for this designation. The framework was constructed based on the analysis of in-depth interviews with families with constructive grounded theory. The study’s findings highlight the need for museums to pay attention to families not only during their visit but also in the preparation and follow-up phases. The managerial implications for museums that would like to be family-friendly are discussed and solutions proposed.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478932","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}
Stefania Środa-Murawska, Elżbieta Grzelak-Kostulska, Leszek S. Dąbrowski, Jadwiga Biegańska, P. Smolinski
Historical parks and palace and park complexes deserve special protection for their potential and as the embodiment of national heritage. Most of them are impressive estates that bear witness to their times and reflect the dreams and aspirations of their owners. However, because of the entangled history of post-socialist countries including Poland much of the cultural heritage they represent has been irreversibly destroyed. The aim of the study was to assess the concept of culture-led regeneration as applied to palace and park complexes situated in rural areas at risk of marginalisation in a post-socialist country, Poland, using the case of Kujawsko-Pomorskie Voivodeship. Its findings show that culture-led regeneration is a valuable instrument for protecting historical palace and park estates, which saves the areas from further devastation and boosts local development.
{"title":"Culture-led regeneration as a vital instrument for preserving the cultural heritage of historical parks in Poland","authors":"Stefania Środa-Murawska, Elżbieta Grzelak-Kostulska, Leszek S. Dąbrowski, Jadwiga Biegańska, P. Smolinski","doi":"10.46284/MKD.2021.9.1.3","DOIUrl":"https://doi.org/10.46284/MKD.2021.9.1.3","url":null,"abstract":"Historical parks and palace and park complexes deserve special protection for their potential and as the embodiment of national heritage. Most of them are impressive estates that bear witness to their times and reflect the dreams and aspirations of their owners. However, because of the entangled history of post-socialist countries including Poland much of the cultural heritage they represent has been irreversibly destroyed. The aim of the study was to assess the concept of culture-led regeneration as applied to palace and park complexes situated in rural areas at risk of marginalisation in a post-socialist country, Poland, using the case of Kujawsko-Pomorskie Voivodeship. Its findings show that culture-led regeneration is a valuable instrument for protecting historical palace and park estates, which saves the areas from further devastation and boosts local development.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478984","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}
S. Kryvuts, O. Gonchar, A. Skorokhodova, Mykola Radomskyi
The constant development of multimedia technologies and, as a result, their rapid spread among countries around the world has been a general trend in digital art in the late twentieth and early twenty-first century. This phenomenon, as practice shows, comes out top among other creative activities. With the help of multimedia technologies it is possible to optimize multimedia systems in figurative and meaningful value relations. An important role here is given to the development of a unigue multimedia “language”, which harmoniously combines technical, creative and value-oriented components.This article presents an analysis of the use of the submersive method in solving scenario-design problems for the preservation of elements of cultural heritage through the use of 3D mapping and video projection in exhibition space design and for projections onto the facades of architectural landmarks. The content of such video projections and specific characteristics of the artistic imag-es they draw upon depend on the functional purpose of the context in which the interactive work is presented. There remains a need for greater scientific understanding of the phenomenon of in-teractive art, in the interests of improving professional design practices in the preservation of cul-tural heritage works.
{"title":"The Phenomenon of Digital Art as a Means of Preservation of Cultural Heritage Works","authors":"S. Kryvuts, O. Gonchar, A. Skorokhodova, Mykola Radomskyi","doi":"10.46284/MKD.2021.9.1.9","DOIUrl":"https://doi.org/10.46284/MKD.2021.9.1.9","url":null,"abstract":"The constant development of multimedia technologies and, as a result, their rapid spread among countries around the world has been a general trend in digital art in the late twentieth and early twenty-first century. This phenomenon, as practice shows, comes out top among other creative activities. With the help of multimedia technologies it is possible to optimize multimedia systems in figurative and meaningful value relations. An important role here is given to the development of a unigue multimedia “language”, which harmoniously combines technical, creative and value-oriented components.This article presents an analysis of the use of the submersive method in solving scenario-design problems for the preservation of elements of cultural heritage through the use of 3D mapping and video projection in exhibition space design and for projections onto the facades of architectural landmarks. The content of such video projections and specific characteristics of the artistic imag-es they draw upon depend on the functional purpose of the context in which the interactive work is presented. There remains a need for greater scientific understanding of the phenomenon of in-teractive art, in the interests of improving professional design practices in the preservation of cul-tural heritage works.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70479152","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}
The article discusses the issue of the “extended museum”, raising questions about how museums become active actors in current topical discussions on the shape of cities, what their role is in the processes of city management and how this engagement in external spaces affects the overall mission of museums. The point of reference is the ICOM Resolution on the responsibility of museums towards landscape adopted in 2016, which offered museums legitimacy in taking actions with regard to their environment, beyond museum walls. On the grounds of four case studies of Polish museums I present strategies whereby relations between the museum, authorities and communities are negotiated (regarding the protection of post-industrial and Second World War heritage, the contextualisation of socialist heritage and the struggle for greenery).
{"title":"Museums as Landscape Activists","authors":"K. Jagodzińska","doi":"10.46284/MKD.2021.9.2.1","DOIUrl":"https://doi.org/10.46284/MKD.2021.9.2.1","url":null,"abstract":"The article discusses the issue of the “extended museum”, raising questions about how museums become active actors in current topical discussions on the shape of cities, what their role is in the processes of city management and how this engagement in external spaces affects the overall mission of museums. The point of reference is the ICOM Resolution on the responsibility of museums towards landscape adopted in 2016, which offered museums legitimacy in taking actions with regard to their environment, beyond museum walls. On the grounds of four case studies of Polish museums I present strategies whereby relations between the museum, authorities and communities are negotiated (regarding the protection of post-industrial and Second World War heritage, the contextualisation of socialist heritage and the struggle for greenery).","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70479202","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}
This study describes a variety of approaches to communication by museums involved in cultural heritage exchange. It focuses on the High Tatras region, which is the most important centre of tourism in Slovakia. It also looks at the specifics of how tourism developed in the region. The data was collected over a multi-year series of ethnological field research trips, and primarily conducted by means of structured interviews, oral histories and participatory observation. The paper concentrates on shifts in the area of museum communication, from the classical interpretative approach towards exhibitions that present their subject matter in a more flexible way, with a focus on emotional experience.The article aims to use some chosen case studies of small, independent museums and galleries from the town of Vysoké Tatry, in the High Tatras, to highlight the importance of sustainability, especially in terms of the growth of tourism.
{"title":"Specific Forms of the Safeguarding and Showcasing of Cultural Heritage as Part of Tourism in the High Tatras","authors":"Z. Krišková","doi":"10.46284/MKD.2021.9.2.4","DOIUrl":"https://doi.org/10.46284/MKD.2021.9.2.4","url":null,"abstract":"This study describes a variety of approaches to communication by museums involved in cultural heritage exchange. It focuses on the High Tatras region, which is the most important centre of tourism in Slovakia. It also looks at the specifics of how tourism developed in the region. The data was collected over a multi-year series of ethnological field research trips, and primarily conducted by means of structured interviews, oral histories and participatory observation. The paper concentrates on shifts in the area of museum communication, from the classical interpretative approach towards exhibitions that present their subject matter in a more flexible way, with a focus on emotional experience.The article aims to use some chosen case studies of small, independent museums and galleries from the town of Vysoké Tatry, in the High Tatras, to highlight the importance of sustainability, especially in terms of the growth of tourism.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70479364","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}
Province, which is located in the south-eastern corner of Poland. At the beginning of the 1970s, as the result of an initiative drawing attention to the need for documentation of the rapidly disappearing traditional Rzeszowiacy vernacular wooden architecture (and that of the neighboring ethnographic group, the Lasowiacy), the Folk Culture Open-Air Museum in Kolbuszowa was created. This paper presents a short overview of the open-air museum’s establishment and describes in detail its role in the study and protection of the wooden architectural heritage of the Rzeszowiacy ethnographic group, based on the museum’s research, carried out over fifty years, and its collection of buildings.
{"title":"The Role of the Kolbuszowa Folk Culture Open-Air Museum in Studies of Traditional Wooden Architecture of the Rzeszowiacy Ethnographic Group","authors":"Tomasz Tomaszek","doi":"10.46284/mkd.2021.9.3.3","DOIUrl":"https://doi.org/10.46284/mkd.2021.9.3.3","url":null,"abstract":"Province, which is located in the south-eastern corner of Poland. At the beginning of the 1970s, as the result of an initiative drawing attention to the need for documentation of the rapidly disappearing traditional Rzeszowiacy vernacular wooden architecture (and that of the neighboring ethnographic group, the Lasowiacy), the Folk Culture Open-Air Museum in Kolbuszowa was created. This paper presents a short overview of the open-air museum’s establishment and describes in detail its role in the study and protection of the wooden architectural heritage of the Rzeszowiacy ethnographic group, based on the museum’s research, carried out over fifty years, and its collection of buildings.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70479648","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}
Karol Witkowski, Szymon Kowalik, B. Czerwińska, Aleksandra Kędzior, Agnieszka Obermajer, J. Pałucki, Weronika Sikorska
The aim of the research was to define the cultural heritage of Poland as represented in the urban space of Vienna by Polonica. Structures commemorating Poles or events they took part in, as well as places related to Poland and Polish people such as Nazi death camps, or geographical objects, were included. Polonica were grouped and analysed in terms of the time of creation, location in the city space, founders, inscriptions and building materials (if they came from Poland). On the basis of the results and discussion, it was found that, as a group of objects, Polonica represent the cultural heritage of Poland from various periods. These objects show both the history of the people and events commemorated, as well as events in the history of Poland over the last 400 years. Moreover, it was argued that some Polonica constitute the cultural heritage of both Poland and Austria. Some objects may be perceived and interpreted differently, which may be related to international political disputes.
{"title":"Cultural heritage of Poland in the urban space of Vienna","authors":"Karol Witkowski, Szymon Kowalik, B. Czerwińska, Aleksandra Kędzior, Agnieszka Obermajer, J. Pałucki, Weronika Sikorska","doi":"10.46284/mkd.2021.9.3.2","DOIUrl":"https://doi.org/10.46284/mkd.2021.9.3.2","url":null,"abstract":"The aim of the research was to define the cultural heritage of Poland as represented in the urban space of Vienna by Polonica. Structures commemorating Poles or events they took part in, as well as places related to Poland and Polish people such as Nazi death camps, or geographical objects, were included. Polonica were grouped and analysed in terms of the time of creation, location in the city space, founders, inscriptions and building materials (if they came from Poland). On the basis of the results and discussion, it was found that, as a group of objects, Polonica represent the cultural heritage of Poland from various periods. These objects show both the history of the people and events commemorated, as well as events in the history of Poland over the last 400 years. Moreover, it was argued that some Polonica constitute the cultural heritage of both Poland and Austria. Some objects may be perceived and interpreted differently, which may be related to international political disputes.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70480036","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}
Georgia’s cultural wealth is the result of the country’s centuries-old history and complex ethnic, religious and political relations. Islam, present in these areas since the seventh century, was of significant importance for the shaping of Georgian architecture. Architectural elements characteristic of Middle Eastern art were thus transferred to a Christian country. Arabs and Persians left behind buildings and ornamental details. The article is the result of field research carried out in Georgia, the purpose of which was to identify the issues of shaping and preserving memory and cultural and religious identity in the Muslim community. Georgian Muslim architecture is heavily neglected and requires increased protection, and above all significant financial resources that are difficult to obtain from a small number of Islamic communities. On the other hand, contemporary trends in Georgian architecture are realized and financed by Muslim businesses.
{"title":"Islamic architecture in Tbilisi and Batumi: Muslim heritage in Georgia","authors":"A. Piwko","doi":"10.46284/mkd.2021.9.4.5","DOIUrl":"https://doi.org/10.46284/mkd.2021.9.4.5","url":null,"abstract":"Georgia’s cultural wealth is the result of the country’s centuries-old history and complex ethnic, religious and political relations. Islam, present in these areas since the seventh century, was of significant importance for the shaping of Georgian architecture. Architectural elements characteristic of Middle Eastern art were thus transferred to a Christian country. Arabs and Persians left behind buildings and ornamental details. The article is the result of field research carried out in Georgia, the purpose of which was to identify the issues of shaping and preserving memory and cultural and religious identity in the Muslim community. Georgian Muslim architecture is heavily neglected and requires increased protection, and above all significant financial resources that are difficult to obtain from a small number of Islamic communities. On the other hand, contemporary trends in Georgian architecture are realized and financed by Muslim businesses.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70480518","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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