Viž koj govori komunikacionni i interpretacionni modeli v muzeja ; [sbornik dokladi ot Părvata naučna konferencija ot serijata "Debati v muzeologijata" (19 - 20 septemvri 2013 g., IEFEM - BAN, Sofija]
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Akad. Izdat. "Prof. Marin Drinov"
2014
|
| Ausgabe: | 1. izd. |
| Schriftenreihe: | Debati v muzeologijata
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Tags: |
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| 246 | 1 | 3 | |a Posmotri kto govorit : modeli kommunikacii i interpretacii v muzee |
| 246 | 1 | 3 | |a Look who's talking : communication and interpretation models in the museum |
| 250 | |a 1. izd. | ||
| 264 | 1 | |a Sofija |b Akad. Izdat. "Prof. Marin Drinov" |c 2014 | |
| 300 | |a 239 S. |b Ill., graph. Darst. | ||
| 336 | |b txt |2 rdacontent | ||
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Datensatz im Suchindex
| _version_ | 1819730115036184576 |
|---|---|
| adam_text | SUMMARIES IN ENGLISH
Between Communications and Interpretations in the
National Ethnographic Museum
Lozanka Peycheva
The article presents the activities and achievements of the National Ethnographic
Museum
(NEM)
after the institutional and structural transformations which started on
July 1st,
2010,
with the merging of the Ethnographic Institute with Museum and the
Institute of Folklore at the Bulgarian Academy of Sciences
(BAS).
The problem of the
specifics of the interpretative and communicative models used in the work of
NEM
is
elaborated on by examining the following interconnected aspects:
1)
a general over¬
view of NEM s production based on facts and lived experience
-
exhibitions, work¬
shops, and other events;
2)
a thorough analytical breakdown of and insight into this
production through the prism of the key words communications and interpretations.
For a New New Museology
Svetla Kazalarsko
The article outlines the major debates in New Museology associated with the
characteristics of the communicative processes taking place in the space of the muse¬
um, with the epistemological foundations of museum interpretation and their bearing
on the forms of museum display, as well as with the museum politics of representation
and selfrepresentation. It is argued that there is a need for a new New Museology
which has to be a critical museology
-
not only subjecting museums to social critique
but also using museums as instruments of social critique.The potential of such kind of
museology is illustrated through examples from the exhibition Mining the Museum
(1992 - 1993),
arranged by the American conceptual artist Fred Wilson at the Maryland
Historical Society in Baltimore.
The Exhibition as a Medium, Museum
4.0,
and
Ethnographic Display in Bulgaria
Iglika Mishkova
The paper is concerned with the topic of the history, the present and the future
of the museum exhibition, and how it carries out its communication with the public.
The changes in the uses of museum collections and messages in the exhibition are
presented along with the new communication models and strategies.
15
Виж кой говори
225
ВИЖ КОЙ ГОВОРИ
The Exhibition
-
A Dialogue with the Public
Svetla Rakshieva
The article offers a self-reflexive and self-critical analytical overview of the exhi¬
bitions of the National Ethnographic Museum at
BAS in
the recent years by compar¬
ing them to present-day museological approaches and practices of display in order
to draw positive examples (both from Bulgaria and abroad), to improve their com¬
municative qualities, to raise their dialogical character , and to turn them into a real
conversation with the public , the emphasis being placed on the term dialogue , not
so much on the public .
Interactivity in the Museum
Milena Berbenkova
The main problem that the article addresses is the application of various inter¬
active methods in Bulgarian museums.The problem is examined through several as¬
pects: are there any interactive methods of display used at the moment; if not
-
what
are the currently used methods and why is it necessary to change them; what are
the benefits of this change, and accordingly
-
of introducing interactive methods
both for the museums and for the society; what are the reasons why these particular
methods are used and why their changing is rendered difficult. The author reaches
the conclusion that the need for a change in the way of presenting museum collec¬
tions is imperative. Introducing new interactive methods of display would lead to
the much needed change in the attitude of society towards museums. This change
in turn would facilitate the capitalization of the economic potential that museums
have and would give a strong impetus for enhancing their role in education and
building social capital.
Museum Communication
-
Best Practices, Problems, and Perspectives
Milena Kiosseva
The article refers to the actual reality in the museum field on the territory of the
country. Examples of effective communicative strategies are given, as well as a brief
analysis of the problematic areas and the shortcomings in the context of an active and
promising dialogue between the museum public and the museum setting.The study
is interdisciplinary in character and is primarily focused on museum management and
its effective politics, brought in line with the constantly changing requirements and
necessities of the public and the environment.
226
Summaries in English
Look Who s Talking... and What Are They Talking About?
Brief Notes on the so called Thematic Guided Tour in the
Regional and Local Historical Museums
Vanya
¡vánova
Regardless of a number of successful attempts at developing a variety of educa¬
tional museum programs, the thematic guided tour will probably keep its role as the
major way of communicating with the visitors within the space of the museum. Given
the divergent thematic scopes of the individual museum exhibitions (permanent and
temporary), the specialized museological literature focuses mainly on the personal
qualities and competencies of the person carrying out the mediatorial communica¬
tion in the museum . It is assumed that museum guides and pedagogues should pos¬
sess knowledge of the specific topic of the exhibition and in the field of public rela¬
tions, etiquette, and diplomacy, as well as have command of the basic pedagogical
and didactical methods (Tsekova
2007).
Very often, however, reality is at odds with the
theoretically established requirements. One of the key reasons that could be identified
is the insufficiency of shared experience related to the basic methodological principles
applicable when developing thematic guided tours.
Museum objects could start talking and their language could become more
legible if the offered guided tour is based on detailed, scientifically grounded answers
to key questions in the thematic field. The possible answers, based on data drawn from
specialized studies, as well as on personal observations and experience, raise another
issue- the issue of the uselessness of the singular guided tour, and its collapsing into
a variety of tours, providing museum visitors with the possibility to have their voices
heard, and to communicate efficiently with the museum expert in an informal and/or
guided conversation.
Objects, Biographies, Stories.
On the Application of the Biographical Approach in the
Museum Exhibition
Ana Lulevo
The paper examines the relation between the conceptualization of museum ex¬
hibitions and the dominant theoretical paradigm in ethnography/ethnology in Bul¬
garia based on the example of the National Ethnographic Museum
(NEM).
The author
provides arguments to support the thesis that in historical perspective the thema¬
tic priorities and methodology of ethnography in our country find expression in the
conceptualization and implementation of NEM s exhibitions. Such is the situation for
an extended period in the history of
NEM
-
up until the
mid-1990s.
The exhibitions,
arranged in this period, reflect the understanding of ethnography as a science con¬
cerned with Bulgarian traditional culture, defined as an achronical cultural system, as
a stable syncretic unity of spiritual and material culture. The theoretical turn in ethno¬
logy, associated with the interest in the subject and with the widespread application
of the biographical approach from the
mid-1990s
onwards, however, did not affect
227
ВИЖ КОЙ ГОВОРИ
the way ethnographic exhibitions at
NEM
were conceptualized. With a few exceptions,
they remained centered around artefacts, products, things, ethnographic objects
-
fragments, and tended to disregard the story and the people.
The Language of Words and the Language of Things
in the Exhibitions of Bulgarian Memorial Museums
Vera
Boneva
The subject of the article is the permanent exhibitions of Bulgarian museums de¬
dicated to prominent historical figures and key historical events. The network of these
museums includes about
130
sites, spread across the entire country; sites housed in
buildings and
topoi
attached to the aura of a distinguished persona or to the memory
of a significant event in the course of our nation s history through the ages.
Having considered the material and the factual resources at disposal in their
holdings, the experts at the memorial museums have devised the permanent exhibi¬
tions using mostly traditional museum devices and approaches. My observations of
the textual part and of the material and documentary component of the exhibitions
under consideration gives me grounds to claim that a large part of the resulting
narratives are made and arranged in a way that is conventional and even somewhat
boring for the public. The main premise behind this approach is the considerable
aging of most of these exhibitions coupled with the majority of the specialists lack¬
ing experience in working in the dynamically changing museum environment of the
present day.
One cannot either ignore the fact that the group of museums in question is
permanently attached to the foundational canon of Bulgarian political and cultural
mythology of the 20th century. This fact is a significant impediment to spicing up
museum messages with more provocative and more dialogical forms. Given that, the
article sends out a message to the museum collegium in view of making the discussed
component of the Bulgarian museum field more dynamic. Best practices and positive
outcomes as concerns the renovation of some museum exhibitions are outlined, at
the same time pointing out the aesthetic achievements of individual teams working
in this delicate and luring field, bound to the national pantheon of iconic historical
figures and events.
Stories Told At Football Museums
Zhana
Popova
Football produces idols that don t always become icons. Museums, however, put
together football storylines. They also produce messages that have been long since
important not only for sports fans. Football players support social causes or lend
their faces to political parties.
The study pursues answers in three main directions: the interweaving of the tra¬
jectories of the history of the football club, or the fan club, and national and regional
history, or sometimes the history of a particular city; the second direction is related
to the museumification of the most popular storylines
-
about football wars, football
228
Summaries in English
victories, football heroes; the third direction in the study deals with museums as sites
for preserving authentic evidences of contested events that took place in the history
of the football clubs.
Contact Work for Making the Museum a Contact Zone
Georgi
Kumanov
The first part of the article discusses James Clifford s essay Museums as Contact
Zones in which he shares his ideas about the contemporary museum as a contact
zone. Other publications elaborating on various aspects and uses of Clifford s thesis
are examined along with the notion of the contact work needed for putting these
ideas into practice.
The second part looks at an example from the work of the Historical museum
in
Velingrad
-
the exhibition The
Aromanians
in Bulgaria . By tracing the tour of the
exhibition around various museums in the country the potential for realizing Clifford s
ideas of the new museum is examined. While it was on display in
Velingrad,
the exhi¬
bition also provided interesting examples both in the field of the well-known museum
model, and in its potential
-
fulfilled or not
-
for making the museum a contact zone.
Interesting for the further development of the topic are the roles of the curator, and
particularly of the volunteer guide
-
a representative of the small ethnic community,
for carrying out the potential contact work.
The Museum Artefact as a Prototype in Fine Arts
Examples from Paintings by Zlatyu Boyadzhiev
(1903 - 1976)
Margarita Kuzova
The article aims to examine the museum artefact and the documentary photo¬
graph as incentives for artwork in their role as carriers of
iconographie
and composi¬
tional memory. The main aspects of the interaction, transformation, and interpretation
of specific prototypes in the art of Zlatyu Boyadzhiev are outlined. The relation and the
dialogue between primary and secondary image, and in this sense
-
the choice of the
prototype, reveal not only the relation between prototype and newly created artwork,
but also to a large extent the inner affinity between prototype and artist.
In Step with Fashion Trends:
In Search of Museum Communication Outside the
Space of the Museum
Elena Vodinchar
In the distant
1968
the Canadian scholar Duncan Cameron made the proposi¬
tion that the museum could be examined as a communicative system, and thus laid
the foundations of a new type of problematic in museology
-
that of museum com¬
munication. Researchers of museum communication today are increasingly paying
attention to issues related to the democratization of museum work. Considering the
229
ВИЖ КОЙ ГОВОРИ
present-day situation, in which the triumph of mass culture is a given, the traditional
museum is re-examining the forms and the ways of translating cultural values. In other
words, the museum today is steering towards the marketplace where the consum¬
ers are the primary determining factor. In this situation even Bulgarian museums are
facing the question: what kind of museum communication is needed nowadays. The
article makes an attempt to examine museum communication (object, curator, visitor)
along the lines of the
currenť fashion
trends Mn the translation of culture based on the
example of two exhibitions organized by IEFSEM.
Ernestine s Last Words .
Interpretative Models and Interactivity of Museum Messages
Nikolay Nenov
The title alludes to a museum performance that endorses a particular method
of presenting history in the first person . First-person stories in the museum have
the problematic status of popular history but at the same time offer the potential
of interaction between participants and public. The article examines various politics
of including the public and broadening its participation which change the way mu¬
seums work. In this process museums can become places where the contact with the
past is interactive, focused on the experience of the active user. That is why museums
integrate stories in their exhibitions
-
in order to provide context for the artefacts by
relating them to other people and other places.
The article outlines models of developing interactive messages, large part of their
realization resting on the possibility for experts to offer choice to the audiences, and for
users
-
to make their choice, through various interpretative techniques. Among these
techniques historical reenactments emerge prominently
-
as they are organized more
frequently, and have a considerable significance as a social practice for consolidating
the cultural and historical identity of the community. History, as it is transmitted from
the performers to the public through the reenactment, can be different from scientific
history , but oftentimes
-
more comprehensible. Historical reenactments and the dra¬
matization of history play a significant role in the education of children in museology,
and more generally
-
for promoting interest towards history and museums.
The Open Museum, Connecting Objects, People and Places
Dessislava Vutovo
The paper introduces the Open Museum initiative which was developed and has
been functioning successfully for over
20
years in Glasgow, Scotland. The structure of
the museum network in Glasgow, which enables the communities to borrow cultural
valuables, is taken under consideration. Several of the most interesting sets of objects
of the Open Museum, which can be exhibited in various settings, are described. This
idea was adapted in the work of the Museum of Folk Arts and Crafts in Troyan in
2012
under the name a museum in a suitcase . A good number of initiatives realized by the
present moment, related to the open museum , have attracted great interest from
various users of this service.
230
Summaries in English
A Travelling Museum Exhibition
Vanya Yordanova
The article deals with the stories of the artefacts featured in the temporary exhi¬
bition Traditions and Colors from the Rhodope Mountains , shown for the first time in
2006
in the village of Zheravna. Organized at an invitation by the Historical Museum
in
Kotel,
with its very first showing the exhibition attracted its public and became a
travelling museum exhibition. Two year later in a similar but slightly expanded version
it was also displayed at the museum in
Nessebar.
The overall objective of the exhibition is to show key aspects of the way of life and
culture of the Mid-Rhodopean population, at the same time to reveal the extraordi¬
nary local diversity in this comparatively small mountainous area. In this respect some
of the objects displayed have their own stories , associated with distinguished fami¬
lies from the Rhodope Mountains. Stories , put on view and told to the visitors of the
exhibition.
The Museum Art Park as a Contact Zone
Maria Minkovsko
The text aims to present a project realized by the Museum of Folk Arts and Crafts
in Troyan, dealing with the way of putting artworks from the museum s Fine and
Applied Arts collection on display. The Museum Art Park, created as a result of this
project, has turned into a contact zone between the museum and its public, thus
satisfying the need of the museum visitors to communicate directly with the museum
artefacts. Furthermore, the project promotes the idea of the town of Troyan as a place
with preserved traditional culture, and as a place sending out contemporary messages
to the people of the present day.
The Museum and Hotel Politics in Postmodern Cultural Tourism
Rumen
Drago nov
Decision-making in the development of hotel politics comes as a result of pro¬
cesses lasting long enough in time and space, related to the self-construction of the
views of management teams implementing particular politics in practice, as well as of
researchers at universities and scientific institutes developing platforms for enhancing
management. In the development of specific politics in the hotel business the catego¬
ries modernity, contemporaneity and postmodernity in cultural tourism are related
to the use and application of innovative benchmarking strategies for improving hotel
politics and raising competitiveness. The article presents a joint project of Grand Hotel
Pomorie and the National Polytechnic Museum in the context of the contemporary
developments in New Museology.
231
ВИЖ КОЙ ГОВОРИ
The Museum
-
a Depository, a Laboratory, or a Stage?
Research and Projects
Valentina Ganeva-Marazova
The strivings of modern museology are above all aimed at making the museum a
site of live communication with the past, but also with the present, through the prism
of which the past is being refracted, analyzed and conceived. The studies in the mu¬
seum field are constantly expanding in order to include a wide circle of problems from
history, sociology, ethnology, and other humanities, the exact sciences, scenography,
and other artistic areas.The article summarizes the basic literature, the state-of-the-art
innovative projects and best practices in the field of the development of the contem¬
porary museum and its perspectives. The study was carried out in the framework of
the project
Eurovision:
Museums Exhibiting Europe (EMEE) , funded by the Culture
Programme of the European Union.
The museum of the 21st century with its new aspects, already developed or about
to be developed, is a topic that actively attracts the attention of the professional com¬
munity. One of the important problem areas is the issue of nationhood and its all-Euro¬
pean actualization.Other important and oftentimes discussed issues are: the relation
museum
-
visitor; the theory and practice of the museum exhibition; scenography and
the new spatial language; the new media and technologies, and their potential as a
means for articulating meanings, as well as for providing a playful, attractive and easy
access to content and narratives of various kinds and levels.
232
СЪДЪРЖАНИЕ
ПРЕДГОВОР
....................................................................... 7
Лозонка Пейчева
Между комуникациите и интерпретациите в Националния етнографски
музей
........................................................................... 17
Светла Казаларска
За една нова„Нова музеология .
.............................................. 43
ЧАСТ
1.
КОМУНИКАЦИЯ И ИНТЕРПРЕТАЦИЯ В МУЗЕЯ
Иглика Мишкова
Експозицията като медия, музей
4.0
и етнографската
презентация в
Бъл¬
гария
.......................................................................... 55
Светла Ракшиева
Експозицията
-
диалог
с
публиката
............................................... 62
Милена Бербенкова
Интерактивност в музея
........................................................... 68
Милена Кьосева
Музейна комуникация
-
добри практики, проблеми и перспективи
........... 79
Ваня Иванова
Виж кой говори... И какво говори? (Кратки бележки във връзка
с т.нар.
„об¬
зорна и/или „тематична екскурзоводска беседа в регионални и местни ис¬
торически музеи)
.............................................................. 84
ЧАСТ
2.
МУЗЕЙНИ РАЗКАЗИ, ДИСКУРСИ,
РЕПРЕЗЕНТАЦИИ
АнаЛулева
Предмети, биографии, разкази. За приложението на биографичния подход
в музейната експозиция
......................................................... 101
Вера Бонева
Езикът на думите и езикът на вещите в експозициите на българските мемо¬
риални музеи
..................................................................
ПО
Жана Попова
Разкази от футболни музеи
...................................................... 123
ВИЖ КОЙ ГОВОРИ
Георги Куманов
„Контактната работа за превръщане на музея в„контактна зона .
............. 131
Маргарита
Кузова
Музейният експонат като първообраз в изобразителното изкуство. Приме¬
ри от живописта на Златю Бояджиев
(1903 - 1976)............................... 142
ЧАСТ
3.
ДОБРИ ПРАКТИКИ
Елена Водинчар
В крачка
с
модните тенденции: в търсене на музейна комуникация мзрън
пространството на музея
....................................................... 165
Николай Ненов
„Последните думи на Ернестина . Интерпретационни модели и интерактив¬
ност на посланията в музея
..................................................... 171
Десислава Вутова
Отвореният музей, свързващ предмети, хора и места
.......................... 178
Ваня Йорданова
Една пътуваща музейна изложба
............................................... 184
Мария Минковска
Музейният арт парк като„контактна зона .
.................................... 192
Румен Драганов
Музеят и хотелската политика в постмодерния културен туризъм
.............
Τ
95
Валентина Ганева-Маразова
Музеят
-
хранилище, лаборатория или сцена? Изследвания и проекти
....... 204
РЕЗЮМЕТА НА БЪЛГАРСКИ ЕЗИК
................................................ 217
SUMMARIES IN ENGLISH
...................................................... 225
ЗА АВТОРИТЕ
.................................................................. 233
СПИСЪК НА СЪКРАЩЕНИЯТА
.................................................... 239
ИЛЮСТРАЦИИ
................................................................. 241
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| ctrlnum | (OCoLC)900084141 (DE-599)BVBBV042249724 |
| edition | 1. izd. |
| format | Book |
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| genre | (DE-588)1071861417 Konferenzschrift 2013 Sofia gnd-content |
| genre_facet | Konferenzschrift 2013 Sofia |
| id | DE-604.BV042249724 |
| illustrated | Illustrated |
| indexdate | 2024-12-24T04:17:51Z |
| institution | BVB |
| isbn | 9789543227846 |
| language | Bulgarian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027687724 |
| oclc_num | 900084141 |
| open_access_boolean | |
| owner | DE-12 DE-255 |
| owner_facet | DE-12 DE-255 |
| physical | 239 S. Ill., graph. Darst. |
| publishDate | 2014 |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| publisher | Akad. Izdat. "Prof. Marin Drinov" |
| record_format | marc |
| series2 | Debati v muzeologijata |
| spellingShingle | Viž koj govori komunikacionni i interpretacionni modeli v muzeja ; [sbornik dokladi ot Părvata naučna konferencija ot serijata "Debati v muzeologijata" (19 - 20 septemvri 2013 g., IEFEM - BAN, Sofija] Museumskunde (DE-588)4170787-4 gnd Interpretation (DE-588)4072905-9 gnd Kommunikationsmodell (DE-588)4140666-7 gnd |
| subject_GND | (DE-588)4170787-4 (DE-588)4072905-9 (DE-588)4140666-7 (DE-588)1071861417 |
| title | Viž koj govori komunikacionni i interpretacionni modeli v muzeja ; [sbornik dokladi ot Părvata naučna konferencija ot serijata "Debati v muzeologijata" (19 - 20 septemvri 2013 g., IEFEM - BAN, Sofija] |
| title_alt | Posmotri kto govorit : modeli kommunikacii i interpretacii v muzee Look who's talking : communication and interpretation models in the museum |
| title_auth | Viž koj govori komunikacionni i interpretacionni modeli v muzeja ; [sbornik dokladi ot Părvata naučna konferencija ot serijata "Debati v muzeologijata" (19 - 20 septemvri 2013 g., IEFEM - BAN, Sofija] |
| title_exact_search | Viž koj govori komunikacionni i interpretacionni modeli v muzeja ; [sbornik dokladi ot Părvata naučna konferencija ot serijata "Debati v muzeologijata" (19 - 20 septemvri 2013 g., IEFEM - BAN, Sofija] |
| title_full | Viž koj govori komunikacionni i interpretacionni modeli v muzeja ; [sbornik dokladi ot Părvata naučna konferencija ot serijata "Debati v muzeologijata" (19 - 20 septemvri 2013 g., IEFEM - BAN, Sofija] Bălgarska Akademija na Naukite, Institut za Etnologija i Folkloristika s Etnografski Muzej. [Lozanka Georgieva Pejčeva ... săst.] |
| title_fullStr | Viž koj govori komunikacionni i interpretacionni modeli v muzeja ; [sbornik dokladi ot Părvata naučna konferencija ot serijata "Debati v muzeologijata" (19 - 20 septemvri 2013 g., IEFEM - BAN, Sofija] Bălgarska Akademija na Naukite, Institut za Etnologija i Folkloristika s Etnografski Muzej. [Lozanka Georgieva Pejčeva ... săst.] |
| title_full_unstemmed | Viž koj govori komunikacionni i interpretacionni modeli v muzeja ; [sbornik dokladi ot Părvata naučna konferencija ot serijata "Debati v muzeologijata" (19 - 20 septemvri 2013 g., IEFEM - BAN, Sofija] Bălgarska Akademija na Naukite, Institut za Etnologija i Folkloristika s Etnografski Muzej. [Lozanka Georgieva Pejčeva ... săst.] |
| title_short | Viž koj govori |
| title_sort | viz koj govori komunikacionni i interpretacionni modeli v muzeja sbornik dokladi ot parvata naucna konferencija ot serijata debati v muzeologijata 19 20 septemvri 2013 g iefem ban sofija |
| title_sub | komunikacionni i interpretacionni modeli v muzeja ; [sbornik dokladi ot Părvata naučna konferencija ot serijata "Debati v muzeologijata" (19 - 20 septemvri 2013 g., IEFEM - BAN, Sofija] |
| topic | Museumskunde (DE-588)4170787-4 gnd Interpretation (DE-588)4072905-9 gnd Kommunikationsmodell (DE-588)4140666-7 gnd |
| topic_facet | Museumskunde Interpretation Kommunikationsmodell Konferenzschrift 2013 Sofia |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027687724&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027687724&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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