Abstracts 2016/2
Abstracts 2016/1
Abstracts 2015/2
Abstracts 2015/1
Abstracts 2014/2
Abstracts 2014/1
Abstracts 2013/2
Abstracts 2013/1
Abstracts 2012/2
Abstracts 2012/1
Abstracts 2011/2
Abstracts 2011/1
Abstracts 2010/2
Abstracts 2010/1
Abstracts 2009/2
Abstracts 2009/1
Abstracts 2008/1-2
Abstracts 2007/2
Abstracts 2007/1
Abstracts 2006/2
Abstracts 2006/1
Summaries 2005/2
Summaries 2005/1
Summaries 2004/2
Summaries 2004/1
Summaries 2003/2
Summaries 2003/1
Summaries 2002/1
Summaries 2001/1-2
Summaries 2000/2
Summaries 2000/1
Summaries 1999/2
Summaries 1999/1
Summaries 1998/2
Summaries 1998/1
Summaries 1997/2
Summaries 1997/1
Summaries 1996/2
Summaries 1996/1
1995/2 All texts in English
Summaries 1995/1
Summaries 1994/2
Summaries 1994/1
Summaries 1993/2
Summaries 1993/1

2010/2 Abstracts


From Nordisk Museologi 2010/2, Abstract pp. 3-24

KATALIN DEME *

Title: Jewish museums, Jewish identities and stereotypes. The coming into being and the development of Jewish museology in Bohemia/the Czech Republic, Hungary and Slovakia.

Abstract: The focus of this article are three Central-Eastern European Jewish museums, in Prague, Budapest and Bratislava. Its aim is to characterize the communication strategy of these museums through different periods of their institutional history. The final objective of the presentation is to find an answer to the question how Jewish museums can reflect the complex threads of the modern Jewish identity, if not directly, then through the interpretation of the story of a local Jewish community. Any given Jewish museum reflects not only traditions, but also their interruption or their potential rejuvenation. This means that the focus of the analysis will not merely be on the description of typical cultural trade marks or their remnants. It will also deal with the interaction of the above-mentioned museums with their surroundings and the social conditions, historical precursors and future perspectives of their distinctive communication strategies.
Key words: Emancipation, secularisation, assimilation, dissimilation; presentation, representation, communication strategy.


**Katalin Deme, ph. d.-studerende Medarbejder på det jødiske museum i Prag fra 1987 til 1991 og på Museet for jødisk kultur i Bratislava fra 1992 til 2000.

Adress: Institut for Historie og Områdestudier, Afdeling for Østeuropastudier Aarhus Universitet, Nordre Ringgade 8000 Århus C

E-mail: hiskd@hum.au.dk

From Nordisk Museologi 2010/2, Abstract pp. 25-43

INGEBORG HAUGE** OG HACI AKMAN*

Title: Museums and diversity in the Norwegian context.

Abstract: The article focuses on an exhibition entitled "A Pakistani flat in Norway" at the Norsk Folkemuseum museum of cultural history — an exhibition that is considered a front-runner in the portrayal of cultural diversity in a Norwegian context. The article discusses the visions provided by both international and national authorities for a museum in a culturally diverse society, and relates these visions to the actual exhibition praxis at Norsk Folkemuseum. The discourse about a museum of cultural diversity emphasises the importance of minority groups' opportunities for participating in museum activities at different levels. Text analysis is used to consider the ways in which minorities take part in these processes. Detailed analysis of exhibition texts and texts associated with this particular exhibition on the Norsk Folkemuseum web site indicate an approach to cultural diversity that communicates cultural difference between strictly defined groups. This establishes text-based lines of demarcation for "being different", and the reserves the right to define and interpret the material, and the dialogue principle at the heart of visions of cultural diversity finds only limited expression in actual practice. The museum has tried out new ways of collaborating with informant groups, and has contributed to extending the scope of current praxis for exhibition preparation, but these initiatives alone do not live up to authoritative and accepted visions for inclusive diversity.
Key words: Cultural diversity, cultural heritage, museums, power, text, discourse, museum exhibition.


**Ingeborg Hauge, kulturviter, mastergrad i kulturvitenskap ved universitetet i Bergen

Address: Ekregaten 9, Bergen, Norge

E-mail: Ingeborg.hauge@gmail.com


*Haci Akman, ass. Professor i Kulturvitenskap ved universitetet i Bergen

Address: Øysteinsgate 3, Bergen

E-mail: haci.akman @ahkr.uib.no


From Nordisk Museologi 2010/2, Abstract pp. 44-57

BARD KLEPPE*

Title: A study of the visitors to small rural museums.

Abstract: Both in Norway and Sweden, there are a large number of small rural museums that aim to tell the story of the local community and that intend to serve as meeting places for the inhabitants. Most of these museums were established in a period when they were heavily influenced by the values shaping society at the time, such as a very prevalent rurally based nationalism.
Based on a master thesis, this article asks what these museums mean to the visitors today, and especially, how the materiality affects the visitors when entering such museums. The article also discusses what challenges this poses to the contemporary, everyday museum practice in museums like these.
Key words: Small rural museums, materiality, audience, identity, experience.


*Bård Kleppe er MA i kulturstudier fra Høgskolen i Telemark og jobber som kulturforsker ved Telemarksforsking.

Address: Telemarksforsking(Telemark Research Institute) Postboks 4 3833 Bø i Telemark, Norway

E-mail: kleppe@tmforsk.no

Web: http://www.telemarksforsking.no

From Nordisk Museologi 2010/2, Abstract pp. 58-74

ULRIKE SPRING*

Abstract: The article analyses the new permanent exhibition in the composer Wolfgang A. Mozart's apartment in Vienna, opened in 2006, from the curator's perspective. The exhibition presents an approach to biographical display in which the exhibited person becomes part of a multifaceted web of contexts, and the article argues for the active deployment of the polysemic character of objects as a means of grasping the complexity of a person's biography. Presenting a concept for the Mozart exhibition that merges semiotic and cultural theories with the materiality of the objects on display, the article contributes to the discussion as to what constitutes authenticity in museum exhibits, and in particular in memorial spaces, and discusses alternative approaches to the traditional predominance in display of original objects in biographical exhibitions. Moreover, it argues for the productivity of going beyond dichotomies between theoretical and applied museology.
Key words: Memorial rooms, Wolfgang Amadeus Mozart, biographical exhibition, exhibition analysis, theoretical and applied museology, authenticity, cultural heritage.


*Ulrike Spring, dr. phil. (University of Vienna), cultural historian. Previously curator at Wien Museum, at present researcher at Department of Culture and Literature, University of Tromsø

Address: Department of Culture and Literature, HSL-Faculty, University of Tromsø, N-9037 Tromsø, Norway

E-mail: ulrike.spring@uit.no


From Nordisk Museologi 2010/2, Abstract pp. 75-90

MERETHE FRØYLAND* OG GURI LANGHOLM**

Title: Ensuring successful collaboration between school and museum.

Abstract: Successful collaboration between schools and museums requires that students are offered activities and tasks which they perform together with others, and which can only be carried out at the museum (Bamberger & Tal 2006:93). Furthermore, if the visit to the museum is closely linked to the school curriculum — with preliminary and complementary coursework — students will manage their own learning, and relate new knowledge to previous experience and knowledge.
In Norway, visits to museums have not been performed this way. (Frøyland &" Langholm, 2009:92). The Norwegian inquiry shows that a visit to the museum is an isolated event, without any preliminary or complementary work, and with little variation in the methods of teaching. The collaboration between the schools and museums was very limited and not begun until the day of the visit. Evaluation of the value for the students was rarely carried out.
We wanted to investigate whether this way of working could be altered, and if "Teaching for Understanding" (Blyth, T 1998) might work as a fertile educational framework. Briefly, Teaching for Understanding focuses on finding crucial educational topics which appeal to both teachers and students, which feature clear-cut targets for understanding and seek different activities which promote understanding by the student. In addition, the method includes ongoing assessment as well as formative assessment and evaluation. We invited 20 teachers and museum educators to participate in an action research programme to alter the established practice. Previous practice was known through a preliminary study (Frøyland and Langholm 2009).
Findings show that the way of working has changed in the course of the research. Based on our research, we concluded that together the teachers and museum educators developed a system which put focus on the students' learning dividends and which also revealed definite learning by the students. In addition, this research indicates that it is possible for the teacher and museum educator to cooperate regarding the whole of the educational scheme, and that "Teaching for Understanding" ensures a solid framework for this process of collaboration.
Key words: School and museum, museum visits, learning theory, teaching for understanding, cooperation between school teachers and museum educators, museum education.


*Merethe Frøyland, Naturfagsenteret, Oslo Førsteamanuensis

Address: Universitetet i Oslo, Postboks 1099, 0317 Oslo

E-Mail: merethe.froyland@naturfagsenteret.no


* Guri Langholm, Høgskolen i Oslo. Høgskolelektor

Address: Høyskolen i Oslo, Postboks 4 St. Olavs plass, 0130 Oslo

E-Mail: Guri.Langholm@lui.hio.noUniversityPress.


From Nordisk Museologi 2010/2, Abstract pp. 96-102

ANNA STORM*

Title: Nuclear power plants as memory sites - a project presentation.

Abstract: Is it possible to imagine a nuclear power plant as a memory site? In many respects, the answer is yes. Nuclear power already forms a part of cultural history museum exhibitions and closed-down nuclear plants have been documented and analysed from a heritage perspective. However, they are also highly controversial places for remembering the past, since their significance is exceptionally ambiguous. The plants stand for potential catastrophe, the complicated management of the radioactive waste and are often associated with nuclear weapons but— at the same time — they also imply hope in the future and a possible answer to the climate threat. Are closed-down nuclear power plants to be preserved in some way, and in that case why? And is our understanding of the concept of heritage to change in some respects as a consequence of this?
Key words: Heritage process, industrial heritage, memory site, nuclear power, Ignalina, Lithuania, Soviet Union, Barsebäck, Sweden, Denmark.

*Anna Storm, fil. dr, är verksam som postdok-forskare vid CBEES (Centre for Baltic and East European Studies) vid Södertörns högskola. Forskningsprojektet "Politics of remembering: Contested heritage processes at Ignalina and Barsebäck nuclear power plants" löper över två år med finansiering från Vetenskapsrådet.

Adress: CBEES, Södertörns högskola, SE-141 89 Huddinge, Sverige

E-mail: anna.storm@sh.se

From Nordisk Museologi 2010/2, Abstract pp. 103-106

KARIN GUSTAVSSON*

Title: Investigations into Swedish peasant society in the 1920s.

Abstract: The aim of the project is to deepen the understanding of the investigations
into Swedish peasant society that took place in the 1920s, in the shaping of ethnology
as a scientific discipline. A specific source material consisting of photographs, drawings
and descriptions of vernacular architecture, deriving from southern Sweden, will be
used to contribute to research into the relationship between practice and scientific
knowledge and to provide new perspectives on cultural heritage management knowledge
in its scholarly context.
Key words: Peasant society, ethnology, vernacular architecture, fieldwork.

*Karin Gustavsson, doktorand

Adress: Institutionen för kulturvetenskaper, Box 117, SE-221 00 Lund, Sverige

E-mail: karin.gustavsson@kultur.lu.se

Web: http://www.kultur.lu.se/o.o.i.s?id= 20834&p= KarinGustavsson


Copyright 2010 Nordisk Museologi