共查询到20条相似文献，搜索用时 375 毫秒
1.
周婧景 《自然科学博物馆研究》2019,(6):34-44
近年来,展览作为文献收藏机构信息利用和创新服务的一大亮点,以视觉化、生动性和体验感等特点吸引了广大受众,逐步成为其核心业务并呈现出广阔的发展前景。但不少展览仅是将文献直接作为展示对象或嵌套至通史展中,文献最具价值的内蕴信息并未获得解读、转化和呈现,导致展览在信息利用和创新服务上,收效实际并不显著。鉴此,本文将突破博物馆的研究边界,将不同收藏机构的文献展览作为研究对象,对散落至不同机构、不同学科的文献展览研究进行学术史爬梳,并于此基础上开展研究动态的分析和研究空间的寻绎,以期发现研究空间中可能的关键问题,主张引入博物馆展览领域的关联性研究,从博物馆学既有成果中获得有益启发,为聚焦与探讨文献展览共性问题奠定较为客观的基础。 相似文献
2.
李雪 《自然科学博物馆研究》2023,(5):75-83
我国博物馆出于文物保护的目的,通常采用“物以类聚”的文物分类方法,根据质地将文物分为不同类型进行分类保护。文物专题展览是综合类及历史类博物馆的重要展览类型之一,与基本陈列不同,更多地从艺术、题材、文化、流传等方面展现某类文物的内在演进逻辑,且更注重视觉表达。在策展过程中,策展人员要充分分析本馆展览定位、馆藏优势、目标观众等,以避免出现“千展一面”的尴尬局面。 相似文献
3.
邵晨卉 《自然科学博物馆研究》2019,(6):60-66
2019年10月26—27日,“博物馆展览策划的理论与实践学术研讨会暨第三届科博论坛”在浙江杭州召开,会议围绕博物馆展览面临的挑战与对策展开了深入探讨,分享了不同领域与背景的观点。当今的中国博物馆展览发展迅速,建立起符合中国自身特点的策展机制,能为策划“好展览”提供制度性保障。以此为基础,立足于博物馆使命,策展团队通过提炼展览主题,采用多元的叙事方式、叙事视角、叙述语言以及视觉传达等手段,能为观众策划出更多有思想、有品质的好展览。 相似文献
4.
周婧景 《自然科学博物馆研究》2020,(2):31-38
尽管展览已成为图书馆、档案馆和方志馆等机构文献利用和创新服务的重要手段,但当前此类展览更多的是直接将文献作为展示对象,或类似博物馆通史展将文献嵌套其中,忽视了文献的真正价值和观众的识读能力、展览的功能优势,导致作为“物证”的文献实际利用效果不佳。究其根源是文献收藏机构尚未完成“以文献为中心”到“以人为中心”的转向,展览理论研究的失衡成为其瓶颈。由于博物馆策展时也曾经面临过同类问题,且已开展基于多元视角的深入研究,业已形成较为成熟的理论与方法。为此,借助博物馆学之视角,在对文献价值及其展览功能再认识的基础上,尝试构建文献展览的阐释模型,设计其实践模式,并提出分阶段推进的实现路径。 相似文献
5.
李明倩 《自然科学博物馆研究》2019,(6):5-12
叙事学发端于20世纪早期的西方文学研究,至90年代延展至博物馆学领域,应用于分析和指导博物馆的叙事,至今已经取得了丰硕成果。2000年后,我国开始对博物馆叙事展开讨论,并经历了三个发展阶段。研究以展览叙事为重点,从文本内容和话语表现两个层面,在内涵特征、作用意义、构建方法和语境关系上取得了一定进展。但整体而言,我国博物馆叙事研究还存在着对理论的认识和应用不足,缺乏宏观思考等问题。 相似文献
6.
岑汶芪 《自然科学博物馆研究》2023,(3):36-46
基于共同创造的视角,对博物馆在观众参与的过程中,如何实现展览教育的创新发展进行探究。在共同创造的视角下,打开观众参与谱系的后三个阶段和参与创造性控制框架三个层次之间的“黑箱”,从而探索利用共同创造实现博物馆展览教育创新发展的过程模型。研究发现在观众参与谱系与参与创造性控制框架的各阶段特点和各层次特点会相互影响,最终形成一个动态的观众参与过程。这些分析细化后的共同创造的过程路径有利于博物馆展览教育的创新发展,也对我国博物馆展览中的观众参与的创新发展具有启发和指导意义。 相似文献
7.
以“中华文明探源工程”为代表的中华文明起源研究是可作为科普创作主题的重要题材。科技馆应在充分发掘其中丰富展览素材的基础上,汲取国内外科学教育界、博物馆和科技馆界的先进教育理念,采取“多维目标取向”的思路策划中华文明起源科普展,立体地、综合地呈现中华文明起源研究中的科学知识、科学方法、科学思想、科学精神及科学家精神。在有特定教育意义、教育目标的环境设计中“讲故事”“模拟再现科学探究实践”是实现“多维目标取向”展览的有效方法。学术研究作为策展前期的准备工作,也应该围绕这样的目标和手段展开。 相似文献
8.
王赫 《自然科学博物馆研究》2023,(6):88-96
以“稻谷飘香,禾下追梦——中国攻克杂交水稻难关50周年”展览为例,剖析布展与展品的艺术创作过程,总结艺术设计对于提升展览艺术效果和强化主题的作用,特别是手绘艺术在展览展品中的应用方法和价值。 相似文献
9.
为回顾百年党史,大力弘扬科学家精神,中国科技馆自主开发策划了“赤子丹心——与党同龄的科学家”主题展览。该展览以1921年出生的各领域著名科学家为切入点,以科学家精神为主线,展示科学家们在科学领域的卓越成就和探索历程,展现其感人至深的爱国爱党情怀,引导公众尤其是青少年树立正确的人生观和价值观,实现科学精神的传承。本文从主题展览策划的各环节出发,探讨总结了对于科普场馆人物展策划的思考与启示。 相似文献
10.
许捷 《自然科学博物馆研究》2019,(6):18-25
展示技术的发展为博物馆展示科学技术提供了各种可能性,然而提炼和表达科学技术背后的科学文化,即科学精神、科学思想、科学方法、科学的价值观等核心内涵,并不是单纯的技术问题。工程文化是科学文化的一种类型,在黑龙江工程学院工程文化博物馆的策展实践中,通过情节化、重构展品语境和不同层次的参与等多方式,探索了在展示工程技术发展的同时,深入发掘背后的工程文化,让展览不仅传播科学知识,同时也兼具科学文化。 相似文献
11.
The first exhibition in Vietnam to feature Vietnamese Catholics was held from December 10, 2008 to June 10, 2009 at the Vietnam Museum of Ethnology in Hanoi. The theme of this exhibition was “Catholic Culture as an Intrinsic Part of Vietnamese Culture.” The exhibition was organized by a State‐run museum against a background of difficult relations between the State and its Catholic communities. This article explores how the exhibition was conceived, and how the ideas of the curators were implemented by examining negotiations among different stakeholders involved in the exhibition. 相似文献
12.
非物质文化遗产档案展览研究 总被引：1，自引：0，他引：1
非物质文化遗产档案展览要注重开发出蕴藏在非物质文化遗产档案中的精髓和灵魂,将非物质文化遗产从固态还原为活态,并以活态的形式传承发展。展览定位、展览主体、展览筹资、公众认知、展陈手段等因素是非物质文化遗产档案展览的必备要素,只有统筹把握,才能办活非遗档案展览,取得事半功倍之效。 相似文献
13.
Over the past two decades, museums and galleries have significantly expanded the scope and diversity of programs and exhibitions offered to children, families and schools. Parents and teachers are increasingly interested in curated public play spaces for children in the early years (from birth to eight years old), and they actively search for accessibility, affordability and quality when planning young children's excursions. In 2013, the Ipswich Art Gallery (in Queensland, Australia) developed and presented Light Play, an interactive exhibition designed especially for children up to the age of eight. Light Play promoted the use of light as a creative material for making ephemeral art through collaborative play, experimentation and discovery‐based learning. As part of the exhibition, a formal research project was run as an integral component of Light Play. Our research documented the qualities that lead to successful creative play experiences for young children in art museums by examining three key aspects of the exhibition: the participants, the environment, and the program. This paper discusses the findings of that research, in relation to making financial and human resource investments in interactive and immersive exhibitions and play spaces for children in the early years. 相似文献
14.
《Curator: The Museum Journal》2017,60(4):467-487
This paper contextualizes the Stanley Kubrick exhibition, a worldwide exhibition tour program dedicated to showcasing the complete oeuvre of the filmmaker Stanley Kubrick, within ‘post‐cinematic’ conditions. Since the mid‐1990s, the formal and experiential components of the cinema in the 20th century have increasingly become displaced from the traditional apparatus and site and ‘relocated’ within new technological and institutional platforms, and museums have become one of those new sites for content consumption. The paper discusses both the limitations and possibilities of the exhibition as it is considered to represent the migration of cinema into the art museum context as one salient phenomenon of post‐cinematic conditions. The Kubrick exhibition is explored to uncover the underlying tensions of the ‘exhibition of cinema’ as a key trend of major international museums, between the movie theater as black box and the art museum's exhibition space as white cube. It considers the difference between these two institutional platforms and their conceptions of objecthood, artifact and the temporal economy of the viewing experience. The author argues that this event succeeds in realizing the possibilities for revivifying three constants of cinema: film auteur, cinematic apparatus, and intermediality. The ambivalence demonstrates that while the museum's exhibition of cinema inevitably removes some of its ontological essences, it also preserves and revivifies others. 相似文献
15.
Jeffrey F. Klenotic 《The Communication Review》2013,16(4):461-495
In the 1920s, Hollywood moved to normalize a vertically integrated industrial structure based on centralized control over film production, distribution, and exhibition. The intensity of this effort at greater corporate rationalization increased dramatically between 1926 and 1932, as major studios aggressively assumed ownership of key first‐run movie palaces in cities and towns across America. Current studies of moviegoing during this period often suggest that studio control over exhibition helped standardize the contexts of film reception, thereby pressing pre‐existing class specificities of moviegoing into a more easily managed and legitimized middle‐class form of cultural practice. The case study presented here offers a theoretically‐informed but empirically grounded investigation of film exhibition and moviegoing during this period, and argues that film exhibition and moviegoing continued to be marked by cultural distinctions that helped articulate class relations in the wider social formation. 相似文献
16.
ZAHAVA D. DOERING ADAM BICKFORD DAVID A. KARNS AUDREY E. KINDLON 《Curator: The Museum Journal》1999,42(2):88-107
This article describes a study of The Power of Maps, an exhibition presented in 1992 at the Cooper-Hewitt, National Design Museum, in New York City. The study compared the result of surveys administered to visitors at the Cooper-Hewitt as they entered and exited the exhibition with a control group of surveys administered to visitors at the National Portrait Gallery in Washington, DC, who had not seen The Power of Maps exhibition. It was found that visitors who were surveyed as they entered the exhibition were closer in agreement with the message of the exhibition than the control group. It was also found that visitors surveyed upon exiting The Power of Maps exhibition were in closer agreement with the message of the exhibition than with visitors who were surveyed as they entered the exhibition. The study demonstrates that it is possible to document a change in visitors' conceptions about a topic as a result of hearing about or visiting an exhibition and reliably determine the degree to which exhibitions can influence visitors. 相似文献
17.
“大医精诚 无问西东:中西医结合抗击新冠肺炎疫情纪实展”作为中国科技馆2020年策划并推出的应急科普展览,是快速开发应急科普展览的一次成功尝试。本文总结和梳理了该展览在主题提炼、设计思路、形式设计、展品征集等方面的做法和经验,提出了对于应急科普展览在策展机制、选题策划、展览内容和形式以及延伸传播方式等问题的思考和对策,以期为科技馆界进一步做好应急科普工作提供参考。 相似文献
18.
“东方红一号”卫星发射成功,拉开了我国探索宇宙奥秘、和平利用太空的序幕。中国航天事业从无到有、从小到大,走出了一条具有鲜明中国特色的发展道路,孕育积淀了深厚博大的航天传统精神、“两弹一星”精神和载人航天精神。在重大科技事件、科学纪念日日益受到社会关注的当下,本文以“东方红一号发射成功50周年科学家精神展”为例,探讨在科技馆中弘扬科学家精神主题展览的策展机制、展览策划与布展创作。 相似文献
19.
Ekaterina Rogatchevskaia 《Slavic & East European Information Resources》2013,14(3-4):175-200
ABSTRACTThis article discusses the theory of exhibition presentation as a genre, the specific issues of curatorial styles, and the distinct features of exhibitions in libraries. Based on my personal reflections on taking part in curating the Russin Revolution: Hope, Tragedy, Myths exhibition at the British Library, the article discusses the tension between the nature of collections held in libraries and their transformation when turned into an exhibition display, as well as the tension between the purpose of collecting for libraries and collecting for displays. It also presents the author’s experience of the challenges and solutions that exhibitions in libraries normally face. As the number of exhibition projects in all kinds of libraries is growing, the library communities are looking toward a better understanding of how libraries’ special and general collections can function in an exhibition environment and how information professionals can contribute to curatorial practices. Sharing experience about library exhibitions in the wider framework of art and museum curation will help to recognize exhibition curating as a requisite part of librarianship, which might change our perception of libraries and their relations with users now and in the future. 相似文献
20.
[目的/意义]针对当前我国高校图书馆展览服务需求与资源之间的矛盾,调研上海高校图书馆展览资源共建共享联盟成员之间进行合作的动因、方式及可持续发展策略,对其实践进行总结和展望,为其他馆提供借鉴。[方法/过程]对该联盟10所成员馆展览业务负责人进行问卷调查,对调查所获资料进行分析总结,辅以文献调研加以梳理。[结果/结论]高校图书馆在展览服务中有着展览资源短缺、拥有共同目标、展览特色互补等合作动因,存在分享展览信息、互换展览资源、抱团对外谈判、共同制作展览等合作和利益共享策略;认为还可从扩宽展览主题和深度、利用和学习其他外部机构资源和经验、联合培训工作人员、运用科学方法进行效果跟踪和评价等方式开展进一步合作。 相似文献