Zachariasz Mosakowski, D. Brykała, M. Prarat, D. Jagiełło, Zbigniew Podgórski, P. Lamparski
Watermills and windmills as monuments in Poland protection of cultural heritage in situ and in open-air museums This paper presents the results of research on the history of the protection of mills as objects of cultural heritage on Polish lands. First, the spatial distribution of over 20,000 mills at the beginning of the previous century is characterized, then the main actions undertaken for their protection in the nineteenth and twentieth centuries are discussed. Merely 3.4% of mills that worked in the past are now protected as monuments and recorded in the national register. Most of them remain in their original locations (in situ), and another 71 windmills and 22 watermills have been relocated to open-air museums. These specific institutions face a particularly important task involving the necessity to retain the original functionality of the mills.
{"title":"Watermills and windmills as monuments in Poland - protection of cultural heritage in situ and in open-air museums","authors":"Zachariasz Mosakowski, D. Brykała, M. Prarat, D. Jagiełło, Zbigniew Podgórski, P. Lamparski","doi":"10.46284/mkd.2020.8.3.2","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.3.2","url":null,"abstract":"Watermills and windmills as monuments in Poland protection of cultural heritage in situ and in open-air museums This paper presents the results of research on the history of the protection of mills as objects of cultural heritage on Polish lands. First, the spatial distribution of over 20,000 mills at the beginning of the previous century is characterized, then the main actions undertaken for their protection in the nineteenth and twentieth centuries are discussed. Merely 3.4% of mills that worked in the past are now protected as monuments and recorded in the national register. Most of them remain in their original locations (in situ), and another 71 windmills and 22 watermills have been relocated to open-air museums. These specific institutions face a particularly important task involving the necessity to retain the original functionality of the mills.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70477923","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}
Among the works that stand out in the Baroque sculpture collection of the Slovak National Gallery (SNG) is the figure of the Saviour by Georg Leonhard Weber of Świdnica. Surveys conducted in Slovak, Czech and Polish museums, combined with field studies, have made it possible to provide hitherto unexplored artistic context of the work. They have made it possible to trace the formal origins of the Bratislava Saviour as well as its later imitations. The sculpture is carved with virtuosic precision; it develops a concept derived from ancient art and is the finest example of Weber’s early oeuvre. Also, it constitutes a link between works made in his workshop over four decades. The present study demonstrates the advantages of an interdisciplinary and international analysis of museum collections. It highlights the significance of the sculpture in question to Central European cultural heritage, expanding the knowledge of museum collections in three different countries.
{"title":"From Świdnica to Bratislava: The sculpture of Christ the Saviour from the collection of the Slovak National Gallery","authors":"Artur Kolbiarz","doi":"10.46284/mkd.2020.8.3.4","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.3.4","url":null,"abstract":"Among the works that stand out in the Baroque sculpture collection of the Slovak National Gallery (SNG) is the figure of the Saviour by Georg Leonhard Weber of Świdnica. Surveys conducted in Slovak, Czech and Polish museums, combined with field studies, have made it possible to provide hitherto unexplored artistic context of the work. They have made it possible to trace the formal origins of the Bratislava Saviour as well as its later imitations. The sculpture is carved with virtuosic precision; it develops a concept derived from ancient art and is the finest example of Weber’s early oeuvre. Also, it constitutes a link between works made in his workshop over four decades. The present study demonstrates the advantages of an interdisciplinary and international analysis of museum collections. It highlights the significance of the sculpture in question to Central European cultural heritage, expanding the knowledge of museum collections in three different countries.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47545619","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}
Vladimir Plokhotnyuk, I. Przhilenskaya, V. Przhilenskiy
This article deals with the issues of museum communication and interpretation of museum exhibits in a philosophical and cultural context. As an example, it considers two different ways of presenting palaeontological material – specifically, the skeleton of a southern mammoth – revealing differences in how the semantic content is interpreted. The first method – the traditional approach of assembling the skeleton – gives a “world picture” of a certain era, as it appears to a palaeontologist. The second approach presents the skeleton in a “sandbox”, representing how it was found during excavations, such that viewers deal not with the interpreted “ready-made” material, but with the contemporary experienced reality – the “life-world”, the “raw” source material. This allows visitors to realize their own creative potential and to recreate the nature of the Pleistocene epoch in their imagination. Thus, through the mutual correlation of the roles exhibition’s author and of the visitor as an interpreter, the semantic field of museum communication expands. In Heidegger’s conception, a “ hides the world rather than explains it, while the “life world” represents it as it is.
{"title":"“Bones in the sandbox”: museum as “world picture” vs museum as “lifeworld”","authors":"Vladimir Plokhotnyuk, I. Przhilenskaya, V. Przhilenskiy","doi":"10.46284/mkd.2020.8.4.2","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.4.2","url":null,"abstract":"This article deals with the issues of museum communication and interpretation of museum exhibits in a philosophical and cultural context. As an example, it considers two different ways of presenting palaeontological material – specifically, the skeleton of a southern mammoth – revealing differences in how the semantic content is interpreted. The first method – the traditional approach of assembling the skeleton – gives a “world picture” of a certain era, as it appears to a palaeontologist. The second approach presents the skeleton in a “sandbox”, representing how it was found during excavations, such that viewers deal not with the interpreted “ready-made” material, but with the contemporary experienced reality – the “life-world”, the “raw” source material. This allows visitors to realize their own creative potential and to recreate the nature of the Pleistocene epoch in their imagination. Thus, through the mutual correlation of the roles exhibition’s author and of the visitor as an interpreter, the semantic field of museum communication expands. In Heidegger’s conception, a “ hides the world rather than explains it, while the “life world” represents it as it is.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478298","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 presents an analysis of the operations of the Whitney Plantation Museum, which opened in 2014 in Wallace, LA (USA), situated within the context of plantation heritage tourism in the American South. The argumentation offers an illustration of the significant transition, even though still of marginal character, of the dominant tendencies of representing slavery in heritage sites (plantation museums) devoted to cultivating knowledge about the history of the region. New materialist in its orientation, the analysis subscribes to the most fundamental assumption of this philosophical tendency, namely that knowledge is generated in material-semiotic ways, and applies this approach in an enquiry into the educational experience offered to visitors by this heritage site. The article argues that although the emergence of institutions such as Whitney Plantation is meant to pluralise the memorial landscape of a given community, rather than serving as multivocal spaces they tend to remain steeped in fragmentation.
{"title":"Against the “Moonlight and Magnolia” myth of the American South. A new materialist approach to the dissonant heritage of slavery in the US: The case of Whitney Plantation in Wallace, LA","authors":"Dorota Golańska","doi":"10.46284/mkd.2020.8.4.9","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.4.9","url":null,"abstract":"The article presents an analysis of the operations of the Whitney Plantation Museum, which opened in 2014 in Wallace, LA (USA), situated within the context of plantation heritage tourism in the American South. The argumentation offers an illustration of the significant transition, even though still of marginal character, of the dominant tendencies of representing slavery in heritage sites (plantation museums) devoted to cultivating knowledge about the history of the region. New materialist in its orientation, the analysis subscribes to the most fundamental assumption of this philosophical tendency, namely that knowledge is generated in material-semiotic ways, and applies this approach in an enquiry into the educational experience offered to visitors by this heritage site. The article argues that although the emergence of institutions such as Whitney Plantation is meant to pluralise the memorial landscape of a given community, rather than serving as multivocal spaces they tend to remain steeped in fragmentation.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478987","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 subject of the research presented here is the language and content of the definitional terms, categories and concepts relating to museum education in the historiography of the topic. The article is a review that provides an analysis of selected papers on museum education, surveying the categories, terminology and definitions proposed by Polish, Ukrainian and Russian researchers. The study also involved looking at museum websites to review the descriptive terms, concepts and categories used in the sections relating to the museums’ educational activities. Finally, against this background the authors present their own approaches and definitions relating to museum education. The work is partly a result of the experience of the authors’ own common educational practice and investigations. The cultural contexts of museum education are significant and influential in the quality of the services provided in each of the surveyed countries and museums. The generalisations presented are appropriate to the specific contexts of the research reports and educational projects quoted.
{"title":"Museum education in the context of socio-cultural changes in the countries of Eastern Europe (using the examples of Poland, Ukraine and Russia)","authors":"Renata Pater, Oleksiy Karamanov","doi":"10.46284/mkd.2020.8.2.2","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.2.2","url":null,"abstract":"The subject of the research presented here is the language and content of the definitional terms, categories and concepts relating to museum education in the historiography of the topic. The article is a review that provides an analysis of selected papers on museum education, surveying the categories, terminology and definitions proposed by Polish, Ukrainian and Russian researchers. The study also involved looking at museum websites to review the descriptive terms, concepts and categories used in the sections relating to the museums’ educational activities. Finally, against this background the authors present their own approaches and definitions relating to museum education. The work is partly a result of the experience of the authors’ own common educational practice and investigations. The cultural contexts of museum education are significant and influential in the quality of the services provided in each of the surveyed countries and museums. The generalisations presented are appropriate to the specific contexts of the research reports and educational projects quoted.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70477685","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 aim of this study is to outline the process of the extinction of Ukrainian culture in south-eastern Poland as a result of Polish resettlement actions and the activities of the Ukrainian underground movement (i.e., the Ukrainian Insurgent Army) in the post-war period (1944–1947). Concurrently, the study offers an analysis of the image of the “Ukrainian Banderite”, created by propaganda in Polish and Czechoslovak literature, journalism, and cinematography in the period from the mid-1940s to the end of the 1980s. The authors state that both in Poland and in Czechoslovakia the analysed topic has been subject to certain cyclical waves of interest, or current political demand or usefulness, but always according to an established and politically accepted template. The black-and-white reception of the issue, propaganda fictions, the concealment of facts, and the disproportionate highlighting of others, which were applied in the literary and film production of the real-socialist period, only distorted the historical objectivity of the issue and created a complicated stereotype in the collective memory.
{"title":"The extinction of the Ukrainian culture of the Polish-Ukrainian-Slovak borderland and the image of the “Ukrainian Banderite” in Polish and Czechoslovak literature, journalism and cinematography, mid-1940s–1980s","authors":"R. Drozd, M. Šmigel’","doi":"10.46284/mkd.2020.8.2.6","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.2.6","url":null,"abstract":"The aim of this study is to outline the process of the extinction of Ukrainian culture in south-eastern Poland as a result of Polish resettlement actions and the activities of the Ukrainian underground movement (i.e., the Ukrainian Insurgent Army) in the post-war period (1944–1947). Concurrently, the study offers an analysis of the image of the “Ukrainian Banderite”, created by propaganda in Polish and Czechoslovak literature, journalism, and cinematography in the period from the mid-1940s to the end of the 1980s. The authors state that both in Poland and in Czechoslovakia the analysed topic has been subject to certain cyclical waves of interest, or current political demand or usefulness, but always according to an established and politically accepted template. The black-and-white reception of the issue, propaganda fictions, the concealment of facts, and the disproportionate highlighting of others, which were applied in the literary and film production of the real-socialist period, only distorted the historical objectivity of the issue and created a complicated stereotype in the collective memory.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478021","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}
In this article, we describe the activities of the “Museum Studio”, which opened in Koktebel in 2016. The history of Russian museology and international experience are two important pillars on which the School is based. Today, the School is a platform for educational events and discussions with the participation of leading Russian and foreign experts. The platform has developed an innovative model of interaction with specialists seeking to improve their qualification level. The main ideas and formats of this model are covered in this article.
{"title":"Museological school as a process of professional formation based on traditions and innovations: Crimean foreshortening","authors":"I. Chuvilova","doi":"10.46284/mkd.2020.8.4.4","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.4.4","url":null,"abstract":"In this article, we describe the activities of the “Museum Studio”, which opened in Koktebel in 2016. The history of Russian museology and international experience are two important pillars on which the School is based. Today, the School is a platform for educational events and discussions with the participation of leading Russian and foreign experts. The platform has developed an innovative model of interaction with specialists seeking to improve their qualification level. The main ideas and formats of this model are covered in this article.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478501","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 goal of the article is to critically analyse and deconstruct museum narratives about communism in East-Central Europe 30 years after transformation. The research material is museum exhibitions interpreted in accordance with the methodology of visual research (composition analysis, content analysis, analysis of material objects, and analysis of meanings). The first and most important museum type from the perspective of the memory cano The Act of 6 June 1997 Penal Code (Journal of Laws of 1997, item 553). Art. 125. § 1. Whoever destroys, damages or takes away a cultural object in an occupied area or in which military operations are taking place, violating international law, shall be subject to the penalty of deprivation of liberty for a term of between one and 10 years. § 2. If the act concerns goods of particular importance for culture, the perpetrator shall be subject to the penalty of deprivation of liberty for not less than 3 years. Art. 278. § 1. Whoever takes away someone else’s movable property for the purpose of appropriation shall be subject to the penalty of deprivation of liberty for a term of between 3 months and 5 years. § 2. The same punishment shall be imposed on anyone who, without the consent of the authorised person, obtains someone else’s computer program in order to gain financial benefits. § 3. In the case of an act of a lesser significance, the perpetrator is subject to a fine, limitation of liberty or deprivation of liberty for one year. § 4. If the theft was committed to the detriment of the closest person, the prosecution takes place at the request of the injured party. Art. 279. § 1. Whoever steals by burglary is punishable by imprisonment from one to 10 years. § 2. If the burglary was committed to the detriment of the closest person, the prosecution takes place at the request of the injured party. n, as it represents the official historical policy of most East-European states, is the so-called identity or heroic museum. Its purpose is not so much to show the truth about the past but to create the collective memory of a society and its positive self-image.
{"title":"Musealisation of communism, or how to create national identity in historical museums","authors":"A. Ziębińska-Witek","doi":"10.46284/mkd.2020.8.4.5","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.4.5","url":null,"abstract":"The goal of the article is to critically analyse and deconstruct museum narratives about communism in East-Central Europe 30 years after transformation. The research material is museum exhibitions interpreted in accordance with the methodology of visual research (composition analysis, content analysis, analysis of material objects, and analysis of meanings). The first and most important museum type from the perspective of the memory cano The Act of 6 June 1997 Penal Code (Journal of Laws of 1997, item 553). Art. 125. § 1. Whoever destroys, damages or takes away a cultural object in an occupied area or in which military operations are taking place, violating international law, shall be subject to the penalty of deprivation of liberty for a term of between one and 10 years. § 2. If the act concerns goods of particular importance for culture, the perpetrator shall be subject to the penalty of deprivation of liberty for not less than 3 years. Art. 278. § 1. Whoever takes away someone else’s movable property for the purpose of appropriation shall be subject to the penalty of deprivation of liberty for a term of between 3 months and 5 years. § 2. The same punishment shall be imposed on anyone who, without the consent of the authorised person, obtains someone else’s computer program in order to gain financial benefits. § 3. In the case of an act of a lesser significance, the perpetrator is subject to a fine, limitation of liberty or deprivation of liberty for one year. § 4. If the theft was committed to the detriment of the closest person, the prosecution takes place at the request of the injured party. Art. 279. § 1. Whoever steals by burglary is punishable by imprisonment from one to 10 years. § 2. If the burglary was committed to the detriment of the closest person, the prosecution takes place at the request of the injured party. n, as it represents the official historical policy of most East-European states, is the so-called identity or heroic museum. Its purpose is not so much to show the truth about the past but to create the collective memory of a society and its positive self-image.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478683","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}
Muzeológia a kultúrne dedičstvo, 2020, 8:2:5-16 DOI: 10.46284/mkd.2020.8.2.1 The beginnings of museology In this paper, we deal with the beginnings of museology, trying to find the common origin of its many contemporary offspring. Rather than define museology, we aim to discuss the idea of museology. We assume that beneath the diverse manifestations of museology one can see today, there is a common root and we call this root the idea of museology. Based on examples tracing the history of other scientific disciplines, in this paper we track two developmental stages in the field of museology: the development from an idea to professional knowledge, and the development from professional knowledge to academic discipline. By these means, we aim to establish some of the crossing points in the progress of museology as a science.
Muzeológia a kultúrne dedi stvo, 2020, 8:2:5-16 DOI: 10.46284/mkd.2020.8.2.1博物馆学的起源在本文中，我们处理博物馆学的起源，试图找到其许多当代后代的共同起源。我们的目的不是定义博物馆学，而是讨论博物馆学的概念。我们认为，在今天人们所能看到的博物馆学的各种表现形式之下，有一个共同的根源，我们把这个根源称为博物馆学的理念。本文以其他科学学科的发展历程为例，追溯了博物馆学领域的两个发展阶段:从观念到专业知识的发展阶段和从专业知识到学科的发展阶段。通过这些方法，我们的目标是在博物馆学作为一门科学的发展过程中建立一些交叉点。
{"title":"The beginnings of museology","authors":"M. Popadić","doi":"10.46284/mkd.2020.8.2.1","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.2.1","url":null,"abstract":"Muzeológia a kultúrne dedičstvo, 2020, 8:2:5-16 DOI: 10.46284/mkd.2020.8.2.1 The beginnings of museology In this paper, we deal with the beginnings of museology, trying to find the common origin of its many contemporary offspring. Rather than define museology, we aim to discuss the idea of museology. We assume that beneath the diverse manifestations of museology one can see today, there is a common root and we call this root the idea of museology. Based on examples tracing the history of other scientific disciplines, in this paper we track two developmental stages in the field of museology: the development from an idea to professional knowledge, and the development from professional knowledge to academic discipline. By these means, we aim to establish some of the crossing points in the progress of museology as a science.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70477390","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 paper deals with the research of Prof Franz Josef Beranek focused on the so called “Habans”, a social religious group that settled in western Slovakia. This research is reconstructed according to the so called German Archive, which forms a part of the scientific collections of the Institute of Ethnology and Social Anthropology of the Slovak Academy of Sciences. The first part is focused on the life of Franz Beranek and his research on the Haban community, including the history, the linguistic situation, and comparisons to other Anabaptist groups. The second part deals with the procedure of cataloguing the archive and its history, structure, and issues.
{"title":"Franz Beranek and his activities in Slovakia","authors":"Tomáš Kubisa","doi":"10.46284/mkd.2020.8.2.5","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.2.5","url":null,"abstract":"This paper deals with the research of Prof Franz Josef Beranek focused on the so called “Habans”, a social religious group that settled in western Slovakia. This research is reconstructed according to the so called German Archive, which forms a part of the scientific collections of the Institute of Ethnology and Social Anthropology of the Slovak Academy of Sciences. The first part is focused on the life of Franz Beranek and his research on the Haban community, including the history, the linguistic situation, and comparisons to other Anabaptist groups. The second part deals with the procedure of cataloguing the archive and its history, structure, and issues.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70477975","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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