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, Oxford: Blackwell, S. 186–197. DOI: Beil, Christine (2003): Musealisierte Gewalt. Einige Gedanken über Präsentati- onsweisen von Krieg und Gewalt in Ausstellungen. In: Museumskunde, 68(1), S. 7–17. Bennett, Tony (1995): The birth of the museum. History, theory, politics. Lon- don, New York: Routledge. 348 | Vergegenwärtigungen von Geschlecht und Nation Bennett, Tony (2010): Der bürgerliche Blick. Das Museum und die Organisation des Sehens. In: Dorothea von Hantelmann; Meister Carolin (Hg.): Die Aus- stellung

. Several scholars have taken up the issues brought into the public arena by students, often phrasing demands for a radical economic and social transformation as a form of ‘decoloniality’ (Maldonado-Torres 2016; Modiri 2016; Radebe 2016). This chapter discusses the Junod Collection, including plans for its proposed digitisation and online publication, against this background of voluble so- cial and political discontent. Colonialism and decoloniality Intellectual proponents of decoloniality make the point that it is not about rejecting mo- dern sciences. Decoloniality

. Leadership discussed the ways through which political power was exercised in traditio- nal societies via two main structures: in centralised states by established hereditary rulers, and in egalitarian communities by senior elders. Ascending to a position of leadership was achieved following a lengthy process of communal and ritual education. Elders’ councils took decisions that affected the wellbeing and order of their entire community. The exhibition’s third focus was on spirituality and wellbeing, especially how people communicated with a ‘Supreme Being’ or creator

miteinzubeziehen. 1 Auch von der Stiftung Preußischer Kulturbesitz wurde inzwischen eine diesbezügliche Leitlinie erarbeitet. Vgl. prove- nienzforschung-und-eigentumsfragen/umgang-mit-menschlichen-ueberresten.html (letzter Aufruf 13.04.2015). 2 Linda Norris, Blog »Museums, Politics and Power«, Eintrag am 19.03.2014: »Visitor? That means it’s not your place, it’s ours. Audience? We want you to be passive. Guest? Still our place. And online? Why do we

is not even a topic of discussion in the media, unless the point is a search for the ugliest Linda Vlassenrood20 building in the country. In short, if architecture wishes to gain in cultural, political and economic influence, architecture has to be “unlocked” – in the broadest sense of the word – for a non-professional public and in an intelligent and appealing way. Hence the NAI ceased to attempt to provide everything for everyone, instead making a selection based on different needs and expec- tations. The following article deals with the thematic

271 9. LITERATUR Abel, Herbert: Vom Raritätenkabinett zum Bremer Überseemuseum. Die Geschichte einer hanseatischen Sammlung aus Übersee an- lässlich ihres 75jährigen Bestehens. Bremen, 1970. Ahn, Gregor: Eurozentrismen als Erkenntnisbarrieren in der Reli- gionswissenschaft. In: Zeitschrift für Religionswissenschaft 5, 1997, S. 41 – 58. Ahrndt, Wiebke: Starker Tobak. Ein Wunderkraut erobert die Welt. Basel, 2000. Alpers, Svetlana: The Museum as a Way of Seing. In: Karp/Lavine, 1991, S. 25 – 32. Ames, Michael: Cannibal Tours, Glass Boxes and the Politics

Kultur und Öffentlichkeit gestalten. Stuttgart: Raabe. 11–15. Benkert, Wolfgang, Lenders, Britta & Vermeulen, Peter (Hrsg.) (1995): KulturMarketing: Den Dialog zwischen Kultur und Öffentlichkeit gestalten. Stuttgart: Raabe. Bennett, Tony (1994): The Reluctant Museum Visitor: A Study of Non-Goers to History Museums and Art Galleries. Redfern: Australia Council for the Arts. Bennett, Tony (1995): The Birth of the Museum: History, Theory, Politics. London: Routledge. Bennett, Tony & Frow, John (1991): Art Galleries: Who Goes? Redfern: Australia Council for the Arts

Staunen angesichts einer »Kunst«, die vom göttlichen Geist selbst zu stammen scheint. Zweifel, Abwägung und Kritik sind jedoch konstitutiv für den medialen, symbolischen und sozialen Modus der Aus- 3 Tony Bennett, The Birth of the Museum. History, Theory, Politics, London/New York: Rout- ledge 1995. 4 Helmut Draxler, »The Turn from the Turns: An Avant-Garde Moving Out of the Centre (1986- 1993)«, in: Joshua Decter/Helmut Draxler u.a., Exhibition as Social Intervention. ›Culture in Action‹ 1993, London: Af terall Books/Köln: König 2014, S. 44-64. 5 Benjamin sieht

of art which was befitting of the British national identity and a correspondingly legitimated interaction with art exhibitions. 1762 In the year 1762, three exhibitions took place in London simultaneously – one organised by the Society for the Arts, one by the Society of the Artists of Great Britain, and a third by the Nonsense Club, in the home of the painter William Hogarth. The Nonsense Club was a group of five writers who published period- icals, composed satirical poetry and who were involved in the political debates of the time. The aesthetics they

; R. Sandell, Social inclusion. 16 | J. Marstine: The Routledge Companion to Museum Ethics; C. Kreps: Liberating Cul- ture; N. Simon: The Participatory Museum. 17 | H. Graham/R. Mason/N. Nayling: The Personal is Still Political; B. Lynch/S. J. M. M. Alberti: Legacies of prejudice; B. Lynch: Collaboration, Contestation, and Creative Con- flict; J. Marstine: The Routledge Companion to Museum Ethics; R. Sandell: Museums and the combating of social inequality; R. Sandell: Social inclusion, the museum. 18 | E. Crooke: Museums and Community; B. Lynch/S. J. M. M