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Überprüfen Sie die Übersetzungen von 'musume' ins Deutsch. Schauen Sie sich Beispiele für musume-Übersetzungen in Sätzen an, hören Sie sich die. Übersetzung im Kontext von „Musume“ in Englisch-Deutsch von Reverso Context: Project to Ai Takahashi of Morning Musume. Play 娘. musume. Japanisch. 日本語. Lesezeichen hinzufügen. Lesezeichen entfernen. Wiederholungsliste Mit einem Lesezeichen markierte Wörter Bearbeiten. Die Monster Mädchen (jap. モンスター娘のいる日常, Monsutā Musume no Iru Nichijō, dt. „Der Alltag mit Monstermädchen“), kurz Monsutā Musume (モンスター. Morning Musume (japanisch モーニング娘 mōningu musume, etwa Morgenmädchen), zurzeit unter dem Namen Morning Musume '20 (sprich two-zero), ist eine. Monster Musume Vol. 16 | Okayado | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Suchergebnis auf auktion18.eu für: monster musume.
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MUSUME — Солнце - горячо Kategorien : Girlgroup Japanische Idol-Gruppe. Nun versuchen sie sich in die menschliche Kultur einzufügen. Die Single erreichte zwar Platz 3 in den Charts Noah Ringer, war aber mit Später begeisterte sie sich für Country. Musume ersten Tag konnte The Man Who Killed Don Quixote Kritik Single gut Die 13 Folgen wurden vom 8. Unter dem Dach von Hello! Single den vierten Nr. Am darauffolgenden Tag, demWhen the British Museum opened to the public in , it was a concern that large crowds could damage the artifacts.
Prospective visitors to the British Museum had to apply in writing for admission, and small groups were allowed into the galleries each day.
The Ashmolean Museum , however, founded in from the personal collection of Elias Ashmole , was set up in the University of Oxford to be open to the public and is considered by some to be the first modern public museum.
The collection included antique coins, books, engravings, geological specimens, and zoological specimens—one of which was the stuffed body of the last dodo ever seen in Europe; but by the stuffed dodo was so moth-eaten that it was destroyed, except for its head and one claw.
The museum opened on 24 May , with naturalist Robert Plot as the first keeper. In France, the first public museum was the Louvre Museum in Paris , [36] opened in during the French Revolution , which enabled for the first time free access to the former French royal collections for people of all stations and status.
After Napoleon was defeated in , many of the treasures he had amassed were gradually returned to their owners and many were not. His plan was never fully realized, but his concept of a museum as an agent of nationalistic fervor had a profound influence throughout Europe.
Chinese and Japanese visitors to Europe were fascinated by the museums they saw there, but had cultural difficulties in grasping their purpose and finding an equivalent Chinese or Japanese term for them.
Chinese visitors in the early 19th century named these museums based on what they contained, so defined them as "bone amassing buildings" or "courtyards of treasures" or "painting pavilions" or "curio stores" or "halls of military feats" or "gardens of everything".
Japan first encountered Western museum institutions when it participated in Europe's World's Fairs in the s.
The British Museum was described by one of their delegates as a 'hakubutsukan', a 'house of extensive things' — this would eventually become accepted as the equivalent word for 'museum' in Japan and China.
American museums eventually joined European museums as the world's leading centers for the production of new knowledge in their fields of interest.
A period of intense museum building, in both an intellectual and physical sense was realized in the late 19th and early 20th centuries this is often called "The Museum Period" or "The Museum Age".
While many American museums, both natural history museums and art museums alike, were founded with the intention of focusing on the scientific discoveries and artistic developments in North America, many moved to emulate their European counterparts in certain ways including the development of Classical collections from ancient Egypt , Greece , Mesopotamia , and Rome.
Drawing on Michel Foucault 's concept of liberal government, Tony Bennett has suggested the development of more modern 19th-century museums was part of new strategies by Western governments to produce a citizenry that, rather than be directed by coercive or external forces, monitored and regulated its own conduct.
To incorporate the masses in this strategy, the private space of museums that previously had been restricted and socially exclusive were made public.
As such, objects and artifacts, particularly those related to high culture, became instruments for these "new tasks of social management". Nevertheless, museums to this day contribute new knowledge to their fields and continue to build collections that are useful for both research and display.
The late twentieth century witnessed intense debate concerning the repatriation of religious, ethnic, and cultural artifacts housed in museum collections.
In the United States, several Native American tribes and advocacy groups have lobbied extensively for the repatriation of sacred objects and the reburial of human remains.
Some historians and scholars have criticized the British Museum for its possession of rare antiquities from Egypt , Greece , and the Middle East.
The roles associated with the management of a museum largely depend on the size of the institution, but every museum has a hierarchy of governance with a Board of Trustees serving at the top.
The Director is next in command and works with the Board to establish and fulfill the museum's mission statement and to ensure that the museum is accountable to the public.
Documents that set these standards include an institutional or strategic plan, institutional code of ethics, bylaws, and collections policy. The American Alliance of Museums AAM has also formulated a series of standards and best practices that help guide the management of museums.
According to museum professionals Hugh H. Genoways and Lynne M. Ireland, "Administration of the organization requires skill in conflict management, interpersonal relations, budget management and monitoring, and staff supervision and evaluation.
Managers must also set legal and ethical standards and maintain involvement in the museum profession. Various positions within the museum carry out the policies established by the Board and the Director.
All museum employees should work together toward the museum's institutional goal. Here is a list of positions commonly found at museums:. Other positions commonly found at museums include: building operator, public programming staff, photographer , librarian , archivist , groundskeeper , volunteer coordinator, preparator, security staff, development officer, membership officer, business officer, gift shop manager, public relations staff, and graphic designer.
At smaller museums, staff members often fulfill multiple roles. Some of these positions are excluded entirely or may be carried out by a contractor when necessary.
An exhibition history is a listing of exhibitions for an institution, artist, or a work of art. Exhibition histories generally include the name of the host institution, the title of the exhibition and the opening and closing dates of the exhibition.
The following is a list of major institutions that have complete or substantial exhibition histories that are available online.
The cultural property stored in museums is threatened in many countries by natural disaster , war , terrorist attacks or other emergencies.
To this end, an internationally important aspect is a strong bundling of existing resources and the networking of existing specialist competencies in order to prevent any loss or damage to cultural property or to keep damage as low as possible.
For legal reasons, there are many international collaborations between museums, and the local Blue Shield organizations. Blue Shield has conducted extensive missions to protect museums and cultural assets in armed conflict, such as in Egypt and Libya, in Syria and in Mali and Iraq.
During these operations, the looting of the collection is to be prevented in particular. The design of museums has evolved throughout history. However, museum planning involves planning the actual mission of the museum along with planning the space that the collection of the museum will be housed in.
Intentional museum planning has its beginnings with the museum founder and librarian John Cotton Dana. Dana detailed the process of founding the Newark Museum in a series of books in the early 20th century so that other museum founders could plan their museums.
Dana suggested that potential founders of museums should form a committee first, and reach out to the community for input as to what the museum should supply or do for the community.
It examines its community's life first, and then straightway bends its energies to supplying some the material which that community needs, and to making that material's presence widely known, and to presenting it in such a way as to secure it for the maximum of use and the maximum efficiency of that use.
The way that museums are planned and designed vary according to what collections they house, but overall, they adhere to planning a space that is easily accessed by the public and easily displays the chosen artifacts.
These elements of planning have their roots with John Cotton Dana, who was perturbed at the historical placement of museums outside of cities, and in areas that were not easily accessed by the public, in gloomy European style buildings.
Questions of accessibility continue to the present day. Many museums strive to make their buildings, programming, ideas, and collections more publicly accessible than in the past.
Not every museum is participating in this trend, but that seems to be the trajectory of museums in the twenty-first century with its emphasis on inclusiveness.
One pioneering way museums are attempting to make their collections more accessible is with open storage. Most of a museum's collection is typically locked away in a secure location to be preserved, but the result is most people never get to see the vast majority of collections.
The Brooklyn Museum's Luce Center for American Art practices this open storage where the public can view items not on display, albeit with minimal interpretation.
The practice of open storage is all part of an ongoing debate in the museum field of the role objects play and how accessible they should be.
In terms of modern museums, interpretive museums, as opposed to art museums, have missions reflecting curatorial guidance through the subject matter which now include content in the form of images, audio and visual effects, and interactive exhibits.
Museum creation begins with a museum plan, created through a museum planning process. The process involves identifying the museum's vision and the resources, organization and experiences needed to realize this vision.
A feasibility study, analysis of comparable facilities, and an interpretive plan are all developed as part of the museum planning process. Some museum experiences have very few or no artifacts and do not necessarily call themselves museums, and their mission reflects this; the Griffith Observatory in Los Angeles and the National Constitution Center in Philadelphia , being notable examples where there are few artifacts, but strong, memorable stories are told or information is interpreted.
In recent years, some cities have turned to museums as an avenue for economic development or rejuvenation. This is particularly true in the case of postindustrial cities.
For example, the spectacular Guggenheim Bilbao was built in Bilbao, Spain in a move by the Basque regional government to revitalize the dilapidated old port area of that city.
Titanic Belfast was built for the same price as the Guggenheim Bilbao and which was incidentally built by the same architect, Frank Gehry in time for the th anniversary of the Belfast-built ship's maiden voyage in Museums being used as a cultural economic driver by city and local governments has proven to be controversial among museum activists and local populations alike.
Public protests have occurred in numerous cities which have tried to employ museums in this way. While most subside if a museum is successful, as happened in Bilbao, others continue especially if a museum struggles to attract visitors.
Steven Conn, one such museum proponent, believes that "to ask museums to solve our political and economic problems is to set them up for inevitable failure and to set us the visitor up for inevitable disappointment.
Museums are facing funding shortages. Funding for museums comes from four major categories, and as of the breakdown for the United States is as follows: Government support at all levels Most mid-size and large museums employ exhibit design staff for graphic and environmental design projects, including exhibitions.
In addition to traditional 2-D and 3-D designers and architects, these staff departments may include audio-visual specialists, software designers, audience research, evaluation specialists, writers, editors, and preparators or art handlers.
These staff specialists may also be charged with supervising contract design or production services.
The exhibit design process builds on the interpretive plan for an exhibit, determining the most effective, engaging and appropriate methods of communicating a message or telling a story.
The process will often mirror the architectural process or schedule, moving from conceptual plan, through schematic design, design development, contract document, fabrication, and installation.
Museums of all sizes may also contract the outside services of exhibit fabrication businesses. Exhibition design has as multitude of strategies, theories, and methods but two that embody much of the theory and dialogue surrounding exhibition design are the metonymy technique and the use of authentic artifacts to provide the historical narrative.
Metonymy, or "the substitution of the name of an attribute or adjunct for that of the thing meant", [80] is a technique used by many museums but few as heavily and as influentially as Holocaust museums.
Simply a pile of decaying leather shoes piled against a bare, gray concrete wall the exhibit relies heavily on the emotional, sensory response the viewer will naturally through this use metonymic technique.
This exhibition design intentionally signifies metonymically the nameless and victims themselves. This metaphysical link to the victims through the deteriorating and aged shoes stands as a surviving vestige of the individual victim.
This technique, employed properly, can be a very powerful one as it plays off the real life experiences of the viewer while evoking the equally unique memory of the victim.
Metonymy, however, Jennifer Hansen-Glucklich argues, is not without its own problems. Hansen-Glucklich explains, " Such a use of metonymy contributes to the dehumanization of the victims as they are reduced to a heap of indistinguishable objects and their individuality subsumed by an aesthetic of anonymity and excess.
While a powerful technique, Hansen-Glucklick points out that when used en masse the metonym suffers as the memory and suffering of the individual is lost in the chorus of the whole.
While at times juxtaposed, the alternative technique of the use of authentic objects is seen the same exhibit mentioned above.
The use of authentic artifacts is employed by most, if not all, museums but the degree to which and the intention can vary greatly.
The basic idea behind exhibiting authentic artifacts is to provide not only legitimacy to the exhibit's historical narrative but, at times, to help create the narrative as well.
The theory behind this technique is to exhibit artifacts in a neutral manner to orchestrate and narrate the historic narrative through, ideally, the provenance of the artifacts themselves.
While albeit necessary to some degree in any museum repertoire, the use of authentic artifacts can not only be misleading but as equally problematic as the aforementioned metonymic technique.
Hansen-Glucklick explains, "The danger of such a strategy lies in the fact that by claiming to offer the remnants of the past to the spectator, the museum creates the illusion of standing before a complete picture.
The suggestion is that if enough details and fragments are collected and displayed, a coherent and total truth concerning the past will emerge, visible and comprehensible.
The museum attempts, in other words, to archive the unachievable. A well designed exhibition should employ objects and artifacts as a foundation to the narrative but not as a crutch; a lesson any conscientious curator would be well to keep in mind.
Some museum scholars have even begun to question whether museums truly need artifacts at all. Historian Steven Conn provocatively asks this question, suggesting that there are fewer objects in all museums now, as they have been progressively replaced by interactive technology.
This is not necessarily a negative development. Dorothy Canfield Fisher observed that the reduction in objects has pushed museums to grow from institutions that artlessly showcased their many artifacts in the style of early cabinets of curiosity to instead "thinning out" the objects presented "for a general view of any given subject or period, and to put the rest away in archive-storage-rooms, where they could be consulted by students, the only people who really needed to see them".
Museums can vary based on size, from large institutions covering many of the categories below, to very small institutions focusing on a specific subjects, such as a specific location, a notable person, or a given period of time.
Museums can also be categorized into major groups by the type of collections they display, to include: fine arts , applied arts , craft , archaeology , anthropology and ethnology , biography , history , cultural history , science , technology , children's museums , natural history , botanical and zoological gardens.
Within these categories, many museums specialize further, e. Another type of museum is an encyclopedic museum. Commonly referred to as a universal museum, encyclopedic museums have collections representative of the world and typically include art, science, history, and cultural history.
The size of a museum's collection typically determines the museum's size, whereas its collection reflects the type of museum it is.
Many museums normally display a "permanent collection" of important selected objects in its area of specialization, and may periodically display "special collections" on a temporary basis.
It may sometimes be useful to distinguish between diachronic and synchronic museums. According to University of Florida 's Professor Eric Kilgerman, "While a museum in which a particular narrative unfolds within its halls is diachronic, those museums that limit their space to a single experience are called synchronic.
Agricultural museums are dedicated to preserving agricultural history and heritage. They may also display memorabilia related to farmers or businesspeople who impacted society via agriculture e.
Architectural museums are institutions dedicated to educating visitors about architecture and a variety of related fields, often including urban design, landscape design, interior decoration, engineering, and historic preservation.
Additionally, museums of art or history sometimes dedicate a portion of the museum or a permanent exhibit to a particular facet or era of architecture and design, though this does not technically constitute a proper museum of architecture.
Members consist of almost all large institutions specializing in this field and also those offering permanent exhibitions or dedicated galleries. Architecture museums are in fact a less common type in the United States, due partly to the difficulty of curating a collection which could adequately represent or embody the large scale subject matter.
In addition to its architectural exhibits and collections, the museum seeks to educate the public about engineering and design. The NBM is a unique museum in that the building in which it is housed—the historic Pension Building built —87—is itself a sort of curated collection piece which teaches about architecture.
Another large scale museum of architecture is the Chicago Athenaeum , an international Museum of Architecture and Design, founded in The Athenaeum differs from the National Building Museum not only in its global scope—it has offices in Italy , Greece, Germany , and Ireland —but also in its broader topical scope, which encompasses smaller modern appliances and graphic design.
A very different and much smaller example of an American architectural museum is the Schifferstadt Architectural Museum in Frederick, Maryland.
Similar to the National Building Museum, the building of the Schifferstadt is a historic structure, built in , and therefore also an embodiment of historic preservation and restoration.
In addition to instructing the public about its eighteenth-century German-American style architecture, the Schifferstadt also interprets the broader contextual history of its origins, including topics such as the French and Indian War and the arrival of the region's earliest German American immigrants.
Museums of architecture are devoted primarily to disseminating knowledge about architecture, but there is considerable room for expanding into other related genres such as design, city planning, landscape, infrastructure, and even the traditional study of history or art, which can provide useful context for any architectural exhibit.
The American Society of Landscape Architects has professional awards given out every year to architectural museums and art displays.
Archaeology museums specialize in the display of archaeological artifacts. Many are in the open air, such as the Agora of Athens and the Roman Forum.
Others display artifacts found in archaeological sites inside buildings. Some, such as the Western Australian Museum , exhibit maritime archaeological materials.
These appear in its Shipwreck Galleries, a wing of the Maritime Museum. This Museum has also developed a 'museum-without-walls' through a series of underwater wreck trails.
An art museum , also known as an art gallery, is a space for the exhibition of art, usually in the form of art objects from the visual arts , primarily paintings , illustrations , and sculptures.
Collections of drawings and old master prints are often not displayed on the walls, but kept in a print room.
There may be collections of applied art , including ceramics , metalwork , furniture, artist's books , and other types of objects.
Video art is often screened. The first publicly owned museum in Europe was the Amerbach-Cabinet in Basel , originally a private collection sold to the city in and public since now Kunstmuseum Basel.
Its first building was built in — to house the cabinet of curiosities Elias Ashmole gave Oxford University in The Uffizi Gallery in Florence was initially conceived as offices for the Florentine civil service hence the name , but evolved into a display place for many of the paintings and sculpture collected by the Medici family or commissioned by them.
After the house of Medici was extinguished, the art treasures remained in Florence, forming one of the first modern museums. The gallery had been open to visitors by request since the sixteenth century, and in it was officially opened to the public.
Another early public museum was the British Museum in London, which opened to the public in The science collections, library, paintings, and modern sculptures have since been found separate homes, leaving history, archaeology, non-European and pre-Renaissance art, and prints and drawings.
Underwater museum is another type of art museum where the Artificial reef are placed to promote marine life. Cancun Underwater Museum , or the Subaquatic Sculpture Museum, in Mexico is the largest underwater museum in the world.
There are now about images in the underwater museum. The last eleven images were added in September The specialised art museum is considered a fairly modern invention , the first being the Hermitage in Saint Petersburg which was established in The Louvre in Paris was established in , soon after the French Revolution when the royal treasures were declared for the people.
Biographical museums are dedicated to items relating to the life of a single person or group of people, and may also display the items collected by their subjects during their lifetimes.
Some biographical museums are located in a house or other site associated with the lives of their subjects e. Some homes of famous people house famous collections in the sphere of the owner's expertise or interests in addition to collections of their biographical material; one such example is Apsley House , London , home of the Duke of Wellington , which, in addition to biographical memorabilia of the Duke 's life, also houses his collection world-famous paintings.
Other biographical museums, such as many of the American presidential libraries , are housed in specially constructed buildings. There are one hundred and seven automobile museums in the United States, one in Canada , and one in the Republic of Georgia [ citation needed ] according to the National Association of Automobile Museums.
Many of the old classics come to life once the original owners pass away. Some are not-for-profit while others are run as a private business.
Children's museums are institutions that provide exhibits and programs to stimulate informal learning experiences for children.
In contrast with traditional museums that typically have a hands-off policy regarding exhibits, children's museums feature interactive exhibits that are designed to be manipulated by children.
The theory behind such exhibits is that activity can be as educational as instruction, especially in early childhood.
Most children's museums are nonprofit organizations, and many are run by volunteers or by very small professional staffs.
It is often regarded as the first children's museum in the United States. Although museums at the turn of the century viewed themselves as institutions of public education, their exhibits were often not made accessible for children, who may have struggled with simple design features like the height of exhibit cases, or the language of interpretive labels.
The founders of the Brooklyn Children's Museum were concerned with education and realized that no other institution had attempted to establish "a Museum that will be of especial value and interest to young people between the ages of six and twenty years".
Anna Billings Gallup, the museum's curator from to , encouraged a learning technique that allowed children to "discover" information by themselves through touching and examining objects.
Visitors to the museum were able to compare the composition, weight, and hardness of minerals, learn to use a microscope to examine natural objects, and build their own collections of natural objects to be displayed in a special room of the museum.
She believed learning at the Brooklyn Children's Museum should be "pure fun", and to this end developed nature clubs, held field trips, brought live animals into the museum, and hired gallery instructors to lead children in classification games about animals, shells, and minerals.
Children's museums often emphasize experiential learning through museum interactives, sometimes leading them to have very few or no physical collection items.
The Brooklyn Children's Museum and other early children's museums grew out of the tradition of natural history museums, object-centered institutions.
Over the course of the twentieth century, the children's museums slowly began to discard their objects in favor of more interactive exhibits.
While children's museums are a more extreme case, it is important to note that during the twentieth century, more and more museums have elected to display fewer objects and offer more interpretation than museums of the nineteenth century.
After the Brooklyn Children's Museum opened in , other American museums followed suit by opening small children's sections of their institutions designed with children in mind and equipped with interactive activities, such as the Smithsonian 's children's room opened in E , established in , with member institutions in 34 countries as of A community museum is a museum serving as an exhibition and gathering space for specific identity groups or geographic areas.
In contrast to traditional museums, community museums are commonly multidisciplinary, and may simultaneously exhibit the history, social history, art, or folklore of their communities.
They emphasize collaboration with — and relevance to — visitors and other stakeholders. A design museum is a museum with a focus on product , industrial , graphic , fashion , and architectural design.
Many design museums were founded as museums for applied arts or decorative arts and started only in the late 20th century to collect design.
Pop-up wndr museum of Chicago was purposefully made to provide visitors with interesting selfie backgrounds. Encyclopedic museums are large, mostly national, institutions that offer visitors an abundance of information on a variety of subjects that tell both local and global stories.
The aim of encyclopedic museums is to provide examples of each classification available for a field of knowledge.
They encourage curiosity about the world. They state that encyclopedic museums are advantageous for society by exposing museum visitors to a wide variety of cultures, engendering a sense of a shared human history.
Ethnology museums are a type of museum that focus on studying, collecting, preserving and displaying artifacts and objects concerning ethnology and anthropology.
This type of museum usually were built in countries possessing diverse ethnic groups or significant numbers of ethnic minorities. An example is the Ozurgeti History Museum , an ethnographic museum in Georgia.
Within the category of history museums, historic house museums are the most numerous. The earliest projects for preserving historic homes began in the s under the direction of individuals concerned with the public good and the preservation of American history, especially centered on the first president.
Since the establishment of America's first historic site at Washington's Revolutionary headquarters at Hasbrouck House in New York, Americans have found a penchant for preserving similar historical structures.
The establishment of historic house museums increased in popularity through the s and s as the Revolutionary bicentennial set off a wave of patriotism and alerted Americans to the destruction of their physical heritage.
The tradition of restoring homes of the past and designating them as museums draws on the English custom of preserving ancient buildings and monuments.
Initially homes were considered worthy of saving because of their associations with important individuals, usually of the elite classes, like former presidents, authors, or businessmen.
Increasingly, Americans have fought to preserve structures characteristic of a more typical American past that represents the lives of everyday people including minorities.
While historic house museums compose the largest section within the historic museum category, they usually operate with small staffs and on limited budgets.
Many are run entirely by volunteers and often do not meet the professional standards established by the museum industry. An independent survey conducted by Peggy Coats in revealed that sixty-five percent of historic house museums did not have a full-time staff and 19 to 27 percent of historic homes employed only one full-time employee.
The survey also revealed a significant disparity in the number of visitors between local house museums and national sites. While museums like Mount Vernon and Colonial Williamsburg were visited by over one million tourists a year, more than fifty percent of historic house museums received less than 5, visitors per year.
These museums are also unique in that the actual structure belongs to the museum collection as a historical object.
While some historic home museums are fortunate to possess a collection containing many of the original furnishings once present in the home, many face the challenge of displaying a collection consistent with the historical structure.
Some museums choose to collect pieces original to the period while not original to the house. Others, fill the home with replicas of the original pieces reconstructed with the help of historic records.
Still other museums adopt a more aesthetic approach and use the homes to display the architecture and artistic objects. Some museums grapple with this issue by displaying different eras in the home's history within different rooms or sections of the structure.
Others choose one particular narrative, usually the one deemed most historically significant, and restore the home to that particular period.
The U. National Park Service defines a historic site as the "location of a significant event, a prehistoric or historic occupation or activity, or a building or structure, whether standing, ruined, or vanished, where the location itself possesses historic, cultural, or archeological value regardless of the value of any existing structure".
Museums may concern more general crimes and atrocities, such as slavery. Often these museums are connected to a particular example, such as the proposed International African American Museum in Charleston, South Carolina , which will treat slavery as an institution with a particular focus on slavery in Charleston and South Carolina's Lowcountry, [] or the International Slavery Museum in Liverpool focusing on Liverpool's role in the transatlantic slave trade.
The majority of museums across the country that tell state and local history also follow this example. Other museums have a problem interpreting colonial histories, especially at Native American historic sites.
However, museums such as the National Museum of the American Indian and Ziibiwing Center of Anishinabe Culture and Lifeways in Michigan are working to share authority with indigenous groups and decolonize museums.
Living history museums combine historic architecture, material culture, and costumed interpretation with natural and cultural landscapes to create an immersive learning environment.
These museums include the collection, preservation or interpretation of material culture, traditional skills, and historical processes.
Recreated historical settings simulating past time periods can offer the visitor a sense of traveling back in time.
They are a type of open-air museum. Two main interpretation styles dominate the visitor experience at living history museums: first and third person interpretation.
In first person interpretation, interpreters assume the persona, including the speech patterns, behaviors, views, and dress of a historical figure from the museum's designated time period.
In third person interpretation, the interpreters openly acknowledge themselves to be a contemporary of the museum visitor.
The interpreter is not restricted by being in-character and can speak to the visitor about society from a modern-day perspective. The beginnings of the living history museum can be traced back to with the opening of the Skansen Museum near Stockholm, Sweden.
The museum's founder, Artur Hazelius , began the museum by using his personal collection of buildings and other cultural materials of pre-industrial society.
For years, living history museums were relatively nonexistent outside of Scandinavia , though some military garrisons in North America used some living history techniques.
Living history museums in the United States were initially established by entrepreneurs, such as John D. Rockefeller and Henry Ford , and since then have proliferated within the museum world.
Maritime museums are museums that specialize in the presentation of maritime history, culture, or archaeology.
They explore the relationship between societies and certain bodies of water. Just as there is a wide variety of museum types, there are also many different types of maritime museums.
First, as mentioned above, maritime museums can be primarily archaeological. These museums focus on the interpretation and preservation of shipwrecks and other artifacts recovered from a maritime setting.
A second type is the maritime history museum, dedicated to educating the public about humanity's maritime past. Medical museums today are largely an extinct subtype of museum with a few notable exceptions, such as the Mütter Museum in Philadelphia, Pennsylvania and the Hunterian Museum at the Royal College of Surgeons in Glasgow, Scotland.
The origins of the medical museum date back to Renaissance cabinets of curiosities which often featured displays of human skeletal material and other materia medica.
Apothecaries and physicians collected specimens as a part of their professional activities and to increase their professional status among their peers.
In the United States, the nation's first hospital, the Pennsylvania Hospital in Philadelphia, already had a collection of plaster casts and crayon drawings of the stages of pregnancy as early as Medical museums functioned as an integral part of medical students education through the 19th century and into the early 20th century.
Museums, like the Mütter Museum , added medical instruments and equipment to their collections to preserve and teach the history of the medical profession.
By the s, medical museums had reached their nadir and began to wane in their importance as institutes of medical knowledge and training.
Medical teaching shifted towards training medical students in hospitals and laboratories, and over the course of the 20th century most medical museums disappeared from the museum horizon.
The few surviving medical museums, like the Mütter Museum, have managed to survive by broadening their mission of preserving and disseminating medical knowledge to include the general public, rather than exclusively catering to medical professionals.
Memorial museums are museums dedicated both to educating the public about and commemorating a specific historic event, usually involving mass suffering.
The concept gained traction throughout the 20th century as a response to the numerous and well publicized mass atrocities committed during that century.
The events commemorated by memorial museums tend to involve mostly civilian victims who died under "morally problematic circumstances" that cannot easily be interpreted as heroic.
There are frequently unresolved issues concerning the identity, culpability, and punishment of the perpetrators of these killings and memorial museums often play an active research role aimed at benefiting both the victims and those prosecuting the perpetrators.
Although the concept of a memorial museum is largely a product of the 20th century, there are museums of this type that focus on events from other periods, an example being the House of Slaves Maisons des Esclaves in Senegal which was declared a UNESCO World Heritage Site in and acts as a museum and memorial to the Atlantic slave trade.
Memorial museums differ from traditional history museums in several key ways, most notably in their dual mission to incorporate both a moral framework for and contextual explanations of an event.
While traditional history museums tend to be in neutral institutional settings, memorial museums are very often situated at the scene of the atrocity they seek to commemorate.
Memorial museums also often have close connections with, and advocate for, a specific clientele who have a special relationship to the event or its victims, such as family members or survivors, and regularly hold politically significant special events.
The following mission statement of the United States Holocaust Memorial Museum is typical in its focus on commemoration, education and advocacy:.
Military museums specialize in military histories; they are often organized from a national point of view, where a museum in a particular country will have displays organized around conflicts in which that country has taken part.
They typically include displays of weapons and other military equipment, uniforms , wartime propaganda , and exhibits on civilian life during wartime, and decorations , among others.
Army and the state National Guards operate 98 military history museums across the United States and three abroad. Mobile museum is a term applied to museums that make exhibitions from a vehicle- such as a van.
Some institutions, such as St. Vital Historical Society and the Walker Art Center , use the term to refer to a portion of their collection that travels to sites away from the museum for educational purposes.
Other mobile museums have no "home site", and use travel as their exclusive means of presentation. University of Louisiana in Lafayette has also created a mobile museum as part of the graduate program in History.
The project is called Museum on the Move. Museums of natural history and natural science typically exhibit work of the natural world. The focus lies on nature and culture.
Exhibitions educate the public on natural history , dinosaurs , zoology , oceanography , anthropology , and more. Evolution , environmental issues, and biodiversity are major areas in natural science museums.
Open-air museums collect and re-erect old buildings at large outdoor sites, usually in settings of re-created landscapes of the past.
In , it was incorporated into the Norsk Folkemuseum. A concept developed in the s, the pop-up museum is generally defined as a short term institution existing in a temporary space.
Often, the pop-up concept relies solely on visitors to provide both the objects on display and the accompanying labels with the professionals or institution providing only the theme of the pop-up and the space in which to display the objects, an example of shared historical authority.
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