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Often located in places difficult to access – caves, rock shelters, and deserts – prehistoric paintings and engravings were first generally known to the wider public in the 1930s through reproductions presented in publications and exhibitions in major European and American cities. The German anthropologist Leo Frobenius (1873–1938) played a decisive role in this diffusion by creating the world’s largest collection of prehistoric art facsimiles: about 5,000 so-called “original” copies faithfully reproducing the size, shapes, and colors of the paintings. The copies were made throughout the world primarily by professionally trained young women artists who accompanied Frobenius on his expeditions. These watercolors brought these rarely seen and distant images into the larger world. In numerous exhibitions, rock art – converted into two dimensions, in rectangular form, and hangable on a wall – was presented to the public like recognized masterpieces. This article explores the history of the collection and today’s exhibition concepts.

From May 7 to October 9, 1892, an international exhibition was held in Vienna, the aim of which was to present the evolution of theater and music, from their origins and through each country. Focusing on the musical aspect of the event, this article examines the contradiction between the organizers’ initial idea and the final result. Analysis centers on the historical context that necessitated the setting up of a new event and its consequences for the event’s organization. This observation leads to a study of the methodology used and the resulting hierarchy, even though the initial project aimed to avoid competition and conflict. With a focus on the ethnographic aspect of the Rotonde and the place given to the operetta, we will finally question the valuations and exclusions brought to light by the exhibition and ask if the event generated the “symphony of cultures” initially hoped for.

The increasing (foreign trade-oriented) competitiveness with the production of technology provides local governments with a number of facilities both in terms of export and administration. In this respect, almost all developed countries have established technological infrastructures and integrated them into the corporate organizations in their homelands. The situation we are talking about has made "technology alliances", one of the popular definitions of the recent period, a necessity. In this way, changes and transformations focused on speed, practicality and ergonomics related to technology have reached the potential to have a global-scale impact. We are aware of the point reached in the 20th century of postmodernism. It is possible to say that the effect it evoked in the last quarter of the century has left it with a similar one. However, technology has a use area that appeals to the collective consciousness by creating widespread effects with its renewed and interdisciplinary features. There is now a situation that should be foreseen in decisions on national policies and that affects the sustainability of large-capital institutions. On the other hand, today, the emphasis is on information and the information societies that come with it. Information societies are societies that have the ability to assimilate the benefits provided by the information of information urgently. Due to these characteristics, while their intellectual needs deepen day by day, their expectations from the culture industry are different. Museums, one of the indispensable actors of the cultural industry, closely follow technology while striving to meet the intellectual needs of information societies among their target groups. In line with their functions, there are already many "current" technologies that they have added to their fixture lists. Their knowledge in the process signals that they will continue their current approach in the coming years. Research; It has a flow that sets out from the technologies that museums have acquired/continue to acquire and evaluates and interprets the later stages of the process. The technologies discussed in the subheadings range from augmented reality to NFT and Metaverse. In the last part, where this diversity is examined, there are a number of suggestions for museums that want to benefit from the benefits of Industry 4.0.

Introduction. The museum provides society with the opportunity for special interaction with space and time for the purposes of acquiring knowledge and the most complete assimilation of codes existing in culture and society. Theoretical analysis. Society’s perception of space and time in the museum will be examined and analyzed from the perspective of myth, which makes it possible to identify archetypal ideas of humanity that developed in ancient times and have largely not lost their infl uence on modern culture and society. The methods of institutionalizing the activities of society, which originated in the past, passed from one era to another in a transformed form, while retaining some characteristic features and at the same time acquiring new ones that became necessary for existence in a diff erent sociocultural context. One of these characteristic features is the idea that space and time in a museum have profane and sacred dimensions. Conclusion. Space and time in the museum are a mirror not only of mythical motifs, but also of the dominant developments of the modern world. These fundamental principles concentrate all the most signifi cant features inherent in human communities for the purpose of their further transmission to society.

Prayer holds a profound significance in a believer’s life, with Lord Jesus teaching specific teachings to his disciples on the subject. It serves as a communication tool bridging the connection between God and humanity, constituting a dialogue rather than solely a platform for pleas or requests. This research delved into the specific text of prayer, focusing on Matthew 6:9–13, commonly known as ‘The Lord’s Prayer’. While many Christians interpret it as a ‘prayer of supplication’, the study questioned whether it truly falls into that category and explored potential contradictions. Utilising a qualitative approach with a pure exegesis study, the author employed hermeneutics based on John D. Grassmick’s steps of exegesis analysis. The examination was centred on the Byzantine Greek Bible text in the Gospel of Matthew 6:14–15. The aim was to grasp the essence of the message within the studied texts, emphasising Lord Jesus’ teachings. Results highlighted the significance of understanding the Lord’s Prayer as taught by Jesus in Matthew 6:9–13. The author emphasised the importance for Christians in Indonesia to comprehend the meaning of this prayer. Contribution: This reconstruction of Matthew’s understanding of the Lord’s Prayer using the Byzantine text anticipated contributions to HTS Theological Studies. The Our Father’s Prayer, a blessing to churches and Christians for over 2000 years, was explored for its proper grammatical translation and the profound contents taught by Jesus. This study aimed to assist Christians in understanding and applying the prayer in their lives, aligning with the true faith and fostering spiritual growth as intended by Lord Jesus.

The conditions for the preservation of museum items, including organic archaeological materials, are dictated by a number of aspects of museum practice: the organization of protection and preservation in exhibition halls and museum depositories; the system of registration and storage of museum values; restoration and conservation; exposition and exhibition activities, often associated with the transportation of exhibits. Organic archaeological materials make up almost a quarter of the archaeological collection of the National Museum of the Republic of Kazakhstan from the ancient times to the ethnographic present. The purpose of the article is to summarize the experience and museum practice of the National Museum of the Republic of Kazakhstan with organic archaeological materials: methodological approaches to preservation and methods of their exhibiting are considered.

Снижение качества региональных выставок последних лет не раз отмечалось исследователями, занимающимися современным отечественным искусством, и самими художниками. С помощью эмпирического количественного метода автором проведен анализ ротации художников Дальнего Востока, принимавших участие в XII и XIII Региональных выставках «Дальний Восток», выявлены видовые предпочтения в искусстве мастеров разных территорий региона. Методы наблюдения, сравнения, анализа экспозиции, каталогов зональных/региональных экспозиций разных лет позволили сделать выводы о некоторых причинах организационного порядка, ведущих в конечном счете к снижению качества проведения выставок, являющихся на протяжении около шестидесяти лет основным критерием состояния изобразительного искусства в регионах страны.

The article examines the main stages in the formation and development of the theory of the period: there is an analysis of the interpretation of this form in the works of A.B. Marx, G. Riemann, the Russian musicologists I. Sposodin, Yu. Tyulin, L. Mazel, V. Tsukerman and others. The dual nature of the period is characterized in connection with its simultaneous belonging to the syntactic and compositional levels of musical form. There are two approaches to understanding this structure – metro-tectonic and content-functional. It is concluded that the qualities of expositionality and completeness of the period are provided by its attraction to the periodicity of the structure, harmonic closure and functional balance of the constituent elements.

In the article was revealed the problem of preserving cultural heritage with the help of school museum. The prerequisites for the creation of the school Museum of the History of the village of Pogorilivka (Ukraine), its museum space and expositions (“History of the village, rural house, everyday life and weaving”, “Room of ethnography”, “Svetlitsa (front room) of bread”) were considered. The village of Pogorilivka in Bukovina is one of the Ukrainian villages that have not lost their self-sufficiency and identity. The locality represents an ethnographic and folkloric valuable area, which led to the establishment of the School Museum of Village History. The main directions of the Museum’s activity were analyzed as an element of the social structure that allows to learn, teach, educate, affirming ethnic identity. Conclusions were drawn about the fundamental practices of museum pedagogy. The importance of representative ethnic cultural symbols was determined; the need for their search was emphasized, possible ways of their active implementation in educational programs and in the modern socio-cultural environment was indicated. One of the central representative ethnic symbols of Ukrainians was identified ritual bread, widely represented in the “Svetlitsa (front room) of bread” of the Museum of the History of the village of Pogorilivka.

La famille constitue la garantie première, avant toute convention et toute charte, des droits de l’enfant. Pour cette simple et bonne raison que cette unité sociale de base n’est régie ni par la discipline, ni par l’adhésion intellectuelle, ni par l’intérêt, mais avant tout par l’amour. L’amour indéfectible pour l’être en qui nous reconnaissons notre propre sang et notre propre chair, un être qui nous survivra en ce monde et d’une certaine manière nous confère l’immortalité . Mais quoi de plus délicat qu’un enfant exposé à des violences au sein de sa propre famille alors que cette dernière est non seulement le lieu privilégié de l’épanouissement affectif et personnel de chacun, particulièrement de l’enfant mais est aussi un lieu intime et privé. Et la question de la violence conjugale dérange car elle touche à l’intimité du foyer. Aussi, les enfants se trouvent malgré eux être témoins ou victimes des violences conjugales, ce qui crée en eux une situation de mise en danger permanente ; ils se sentent constamment en insécurité tant physique que morale et portent sur eux un lourd secret qu’ils ne devraient dévoiler à personne sous peine de sanctions sévères et de graves privations de la part de leurs parents. En effet, évoquer les violences dans ses diverses formes au sein du couple parental dont ils peuvent être victimes, peut mettre mal à l’aise et conduire au silence. Ils deviennent ainsi des victimes résignées. Tandis que l’impact desdites violences sur le développement tant physique que psychique de l’enfant est néfaste et dévastateur. Il est moins évident de prétendre éradiquer ce fléau incrusté dans nos pays depuis bien longtemps, mais il convient de s’investir dans les moyens mis à notre portée pour le réduire sensiblement.

The article studies the history of a small timber-harvesting colony that was created in the times of the GULAG labor camps, outlived the period of being a political colony, and was transformed into a museum, the Museum of the History of Political Repression Perm–36, in the 1990s. Based on the analysis of publications of the 1990s–2000s, an attempt was made to recreate the history of comprehension of the era of political repression using the example of a certain museum. From the active study of the topic in the early 1990s and establishment of a public museum with support from the Perm Oblast administration, Perm–36 moved on to undergo severe criticism from the local and federal press, deprivation of financing and administrative support and, finally, rather rough dismissal of the museum administration and appointment of top managers from the Ministry of Culture. The public museum had a powerful creative and scientific potential that allowed it to develop, implement new forms of work, and attract the international museum and human rights community, but, unfortunately, the State Memorial Museum of the History of Political Repression Perm–36 has become an ordinary regional museum in fact. In the first years of being a state museum (2015–16), the administration of Perm-36 tried to revise the directions of work of the public museum. This was expressed in its attempts to justify the authorities and the cruel laws of the time when the colony existed and to find some incriminating evidence against its political prisoners. New exhibitions of the museum (e.g. “Broken by windfalls”) highlighted the state’s need for the prisoners’ work, in particular in harvesting timber needed for the reconstruction of war-ravaged cities, the successes in mechanization of camp production, and so on. The public outcry forced the leadership of the museum to adjust its course. Now, according to the development concept adopted in 2019, the activities of the reserve museum are aimed at preserving the memory of victims of political repression in order to prevent such tragedies in the future. The state museum Perm–36 continues to open new exhibitions and expositions that tell the story of the colony through the stories of people from the GULAG camps, dissidents, and human rights activists. However, the activities of the state memorial museum, which is deprived of public initiative and creative potential of the first directors, cannot yet rise to the level of international recognition and significance that its predecessor, the public museum, used to have.

Almost all Quranic exegetes believe that verses 16-19 of Sura al-Qiyāma are digressions between other main verses. While exegetes and lexicologists take the word bayān to mean an exposition or interpretation of Quranic verses, a distinction should be drawn between exposition and interpretation of the Quran. In verse 19 of the sura, the term “lie with Us” suggests God’s commitment to the expository revelation of Quranic verses, which the Prophet taught his companions, as he taught the Quran itself. What distinguishes Imam ʿAlī’s Muṣḥaf (written copy of the Quran) from ʿUthmān’s Muṣḥaf is the addition of expository revelation alongside the Quranic verses. Since Imam ʿAlī’s Muṣḥaf were inherited by later Shiite Imams, their followers were not deprived of expository revelation.

The castle in Ciechanow is classified as a Gothic castle of the lowland type. The building, which is an example of defensive architecture, is located to the north of the historic urban layout of the Ciechanow centre. At present, the castle is covered by the following forms of protection: protection for the Natural and Landscape Complex "Łydynia River Valley”, provisions of the Local Spatial Development Plan and an entry in the Register of Historic Monuments. The authors of the paper analyse the legal regulations concerning the castle and their impact on the contemporary castle’s exposition in the landscape.

Engineering structures are known to withstand significant applied loads, in order to respect static requirements. With time, the environmental sustainability became an important aspect for construction systems. Therefore, the durability issues acquired an increased attention. Materials and systems are subjected to atmospheric degradation. Geographic location, orientation, degree of exposition, construction details, height and degrading agents such as, sun irradiation, wind, rainfall, and chemical agents influence the intensity of the deterioration. This latter mainly takes place in an asymmetric manner. Within short distance, the damage of a structure may significantly vary. The present work outline the asymmetry in the degradation of some main infrastructure such as buildings, tunnels, waste water plants, drinking water reservoirs, bridges, drinking water wells and artifacts exposed to stray currents. The asymmetry largely affects the deterioration process. In some cases, a relevant damage was observed after short time. Thus, a wise planning of infrastructure and materials may increase their general durability.

Cet article revient sur le processus collaboratif qui a présidé à la conception de l’exposition Kuru. L’art d’un monde en mutation tenue en 2019 au Jardin botanique de Neuchâtel (Suisse). Cette expérience, alliant des artistes san naro du Botswana, des anthropologues et des professionnel·le·s des musées, avait pour ambition de repenser l’approche muséale de l’art san contemporain et de développer d’autres modes d’exposition, plus inclusifs. Cet article documente les stratégies de représentation de Soi et de l’Autre mobilisées dans ce contexte et propose une réflexion sur les apports, les enjeux et les limites de cette collaboration à la croisée de l’art, de l’anthropologie et de la botanique. Il met en lumière les effets involontaires, les adaptations constantes et les asymétries persistantes à l’œuvre dans les échanges, et discute de l’intérêt de faire sens de ces dynamiques interactionnelles au sein même de l’espace muséal.

The main point of this article is to show the art of laparoscopic surgery, which can improve the patient’s outcome, decrease operation time and the number of complications.

This paper discusses the mummified body of Michael Willmann (1630–1706) – one of the most outstanding painters of the Baroque period in Central Europe. Willmann’s mummy was preserved in the crypt of the former Cistercian monastery church in Lubiąż, Silesia (Poland). The article presents the history of the mummy and possibilities for opening the crypt and displaying it to the public, following the example of similar expositions in Europe which have found respectful and sensitive solutions for presenting the bodies of the deceased (e.g. Capuchin Crypt in Palermo and Capuchin Church in Brno). Willmann’s mummy is not only the body of an artist, but also a part of the cultural heritage of the Lubiąż Cistercians, making it worthy museification. This issue is particularly important in the context of the plans for establishing the Michael Willmann Museum in the former Cistercian monastery church in Lubiąż.

Hornbeam is a forest tree species widespread in our country’s plain and hill areas. Hornbeam forests can also be found in the West Plain and can be classified as smart forests. This concept, used during the last decade in worldwide silviculture, involves the existence of forests with an exceptional ecologic purpose. The present article intends to establish a set of clear and easy to identify and catalogue criteria that can be used to recognize smart hornbeam forests from the West Plain together with their characteristics. In order to achieve this, 14 site and stand characteristics were established, each with five evaluation classes. Smart hornbeam stands from the West Plain are distributed especially in Lunca Timisului, Oradea and Timisoara forest districts, at altitudes of 90-100 meters, on preluvisol and eutric cambisol. In addition, they are also present in forest plain station and in meadows, being characterised by relatively even-aged and relatively uneven-aged structures, ages between 60-70 years and by conservation forests and seed reservations production subunits.

Suhrawari’s syllogistic is based upon the three reductions: (1) the reduction of the negative propositions to positive ones by obversion, (2) the reduction of the particular propositions to universal ones by exposition, and (3) the reduction of the contingent and impossible propositions to necessary ones by definite necessity. Thus, the four moods of the first figure may be reduced to one mood, the four moods of the second figure may be reduced to another one, and the six moods of the third figure may be reduced to a third mood. From these three moods, the first is self-evident in its validity. But Suhrawardi proves the validity of the other two moods by two illuminationistic rules. I will show in this article that Suhrawardi is indebted to Avicenna in all these respects. Obversion is borrowed from Avicenna’s al-Mukhtasar al-Awsat; exposition is an Aristotelian method that Avicenna applies in all of his logical works; the definite necessity and one of the two illuminationistic rules are adopted from his al-Shifa’: Kitab al-Qiyas; and the other illuminationistic rule is extracted from his al-Najat. So Ziai and Walbridge’s opinion that Suhrawardi’s Syllogistic is a sharp divergence from Avicenna’s Syllogistic will be wrong.

Within the Carpathians, the Southern Carpathians are located in the South part and contains the largest number of peaks situated at over 2500 meters altitude. Aspen (Populus tremula L.) is a pioneer species with a rapid growth, usually found in the temperate and boreal areas from Eurasia. In our country, the species is present in hill and mountain areas, up to 1600 m in altitude and in mixture forests. The purpose of this article is to analyze aspen strands from the Southern Carpathians from the point of view of site and growth conditions. In order to achieve this, we have used data from forest management plans realized during 1982 - 2006 for 35 forest districts located in this area. The stand and site characteristics that were analyzed were the following: location, pruning, current growth, production class, structure, slope, exposition, altitude and forest type. The surface occupied by aspen stands in the Southern Carpathians is of 2302 ha, with the majority located in the southeast part. Aspen stands from this area are characterized by a mixt or intimate mixture, low pruning, current growth of 0.4-0.8 m3/year/ha, medium and inferior production classes, and an even-aged, relatively even-aged and relatively uneven-aged structure. They vegetate on fields with a high or very high slope, at average altitudes between 700 and 1100 m, in mountain common beech stands or fir, Norway spruce and common beech mixtures.

The Southern Carpathians are situated in the central part of Romania, between Prahova Valley and the Danube, being the highest and most massive mountains from the Romanian Carpahtians. The relief and vegetation are similar to the Alps. These mountains conserve the most representative glaciar relief from Romania, with cuaternar glaciar tracks. Some of its peaks, namely Moldoveanu, Negoiu, Parângul Mare and Peleaga exceed 2500 m. From its total 217.889 ha occupied by forests with water protection functions, the forests located on lake slopes occupy 9.746 ha, namely 5%. The forests from this area are composed of spruce (Picea abies L.H. Karst) and beech (Fagus sylvatica L.), accompanied by other species such as birch (Alnus glutinosa, L., Gaertn.) and pine (Pinus sp.). From the point of view of the field's orography, these forests are located on lands with an middle inclination on all exposition categories, but predominantly on the North-East, one at an average altitude of 1050 m. From the point of view of site conditions, the characteristic flora type is Asperula-Dentaria, while the main soils are dystric cambisol and eutric cambisol.

The article examines display methods of Christian art in museums and showrooms. The history of exposition of religious art dates back about 150 years. Throughout museum existence the social role of religious art and museum was understood differently because the demonstration purposes, problems and methods were very different. Recently museum researchers define a museum as an ideological institute where ideology is the process of producing meanings and fixing them as norms. Display methods are described as the methods of creating meanings. When the museum displays certain objects, it shows not only the translation of the dominant knowledge, but also the principles of perception of reality. The analysis of the variety of museum interpretations of the Christian art throughout the entire time of its exhibition allows distinguishing three main approaches: Christian art as an illustration of ideas and concepts, as an artistic work and as a sacred object. Each of them has its own conceptualization, history of application and use in modern practice. The purpose of this article is to study the already developed techniques, sometimes slightly modified, which are used in museum expositions of the last two or three decades. One approach to displaying icons, temple sculptures and objects of decorative and applied art for liturgical purposes in a modern museum considers them as illustrations of certain scientific or cultural concepts, as well as historical documents. One of the versions of this approach is the representation of the religious art as an ethnographic material. Another approach to exhibiting is based on treating icons and liturgical items as works of art. They are considered as recognized masterpieces that should bring the viewer aesthetic pleasure. An important manifestation of artistic and aesthetic positions in such art is the use of specific art concepts for its description: the picturesque features of the region or school, the manner of writing. In modern exhibition practice, this type of demonstration is one of the leading and most common. The third type of display is based on understanding of the Christian art as a sacred object. In this case, with the help of exposition techniques the space of the temple is reconstructed in the halls of museums, the objects of display are symbolically returned to their original surroundings. Moreover, there is a complete reconstruction of the interior of the Church, as well as of its elements, even if they are only a hint of associative reference to the sacred spaces. As a result of the analysis of three main methods of exhibiting the Christian art, the author comes to conclusion that the modern practice of museum demonstration combines previously developed methods of display. The three main techniques described in the article only allow dividing the variety of existing expositions into parts. The actual museum activity is much more complex and in the same exhibition there are sometimes elements of different techniques that complement each other. В статье рассматриваются современные способы показа церковного искусства в музеях и выставочных залах. История его экспонирования насчитывает около 150 лет. На всём протяжении своего музейного бытования роль церковного искусства по-разному понималась обществом и самим музеем. Поэтому цели и задачи, а также методы демонстрации были весьма различны. Современные музейные исследования определяют музей как идеологическую инстанцию; при этом идеологией называется процесс производства смыслов и закрепления их в статусе норм. В качестве одного из методов формирования смыслов выступают способы показа. По тому, как музей показывает те или иные объекты, можно судить не только о трансляции доминирующих знаний, но и о самих принципах восприятия реальности. Анализ разнообразия музейных интерпретаций церковного искусства на протяжении всего времени его экспонирования позволяет выделить три основные подхода: церковное искусство понимается (1) как иллюстрация идей и концепций, (2) как художественное произведение и (3) как сакральный объект. Каждый из подходов имеет свои концептуализацию, историю применения и примеры использования в современной практике. Задача данной статьи – попытаться проследить, как уже наработанные приёмы, иногда несколько видоизменяясь, находят применение в экспозициях музеев последних двух-трёх десятилетий. Один из подходов к демонстрации икон, храмовых скульптур и предметов декоративно-прикладного искусства богослужебного назначения в современном музее рассматривает их в качестве иллюстраций некоторых мировоззренческих или социокультурных концепций, а также как исторические документы. Одним из вариантов такого подхода является представление церковного искусства как этнографического материала. Другой подход к экспонированию базируется на отношении к иконе и богослужебным предметам как к произведениям искусства. Они рассматриваются в качестве признанных шедевров, которые должны вызвать у зрителя эстетическое наслаждение. Важным проявлением художественно-эстетических позиций при рассмотрении такого искусства является использование для его описания характерных искусствоведческих понятий: живописные особенности региона или школы, манера письма. В современной экспозиционной практике этот тип демонстрации является наиболее распространённым. В основе третьего типа экспонирования лежит понимание произведения церковного искусства как сакрального объекта. В этом случае с помощью экспозиционных приёмов в залах музея реконструируется пространство храма, а предметы показа символически возвращаются в их изначальное окружение. В результате анализа трёх основных приёмов экспонирования церковного искусства автор приходит к выводу, что современная практика музейной демонстрации совмещает в себе ранее наработанные способы показа. Три основные приёма, описанные в статье, позволяют лишь достаточно условно разделить всё многообразие существующих экспозиций. Реальная музейная деятельность значительно сложнее, и подчас в одной выставке сочетаются элементы разных приёмов, которые взаимно дополняют друг друга.

Smart forests can be identified based on forest management plans if 15 stand, landscape or stational characteristics are taken into account. A total number of 34 smart stands were identified after these characteristics were graded based on the studied area and the manna ash’s ecological requests. These stands are located in Dognecei, Aninei and Locvei Mountains, at altitudes between 225 m and 780 m, on South expositions and on fields with inclinations between 7° and 50°. These forests have relatively young ages (specific to manna ash) even though the presence of forests with extremely old ages was also identified. They belong to some stands located in strict conservation areas such as national parks (very well represented in Banatului Mountains) or in production areas. The characteristic soils are eutric cambisol or rendzic leptosol, while hill common beech stands are located on skeletal or chalky soils. Knowing the characteristics of smart manna ash forests is useful for conserving and promoting them.

The paper reconsiders the possibility of understanding the art of avant-garde in the light of the sublime, as argued by Jean-François Lyotard in his famous critical essay on Barnett Newman’s artwork Vir Heroicus Sublimis. According to the paper, the scope of a ‘sublime art’ of the avant-garde is larger than the reference to a single artist or movement, and entails the possibility of comprehending the reflective stance of modernism as a critique, performed by art, of the conditions of possibility of exposition as a gesture that is relevant not only to the art world but to experience at large. The sublime art brings this critique to its extreme consequences as far as it explores the boundaries of exposition with regard to the world image supplied by the media system. This sublime directory of the avant-garde was inaugurated by Marcel Duchamp as he introduced the practice of the ready-media in the art system. However, it enjoyed a long-lasting success thereafter.

The article is devoted to the professional activities of graduates of the Higher Women’s (Bestuzhev) Courses in the State Hermitage Museum. They made a great contribution to the Soviet museum building, they were engaged in the restructuring of the Imperial Hermitage, scientific and exhibition work, and mastered educational field. The article is based on materials from the personal archive of N. V. Blagovo (materials Mel’nikova) and the graduates’ memories. In addition, biographies of 23 employees of the Hermitage, graduates of Courses who worked there from 1914 to 1975, are given for the first time.

This article substantiates the relevance of the museumification of Kazakhstan’s mounds based on foreign experience. The authors present general information about the Issyk mounds and analyze the theoretical concept of the spatial solution of the museum complex around them. A number of studies devoted to the museumification of the Besshatyr burial mound are considered. The history and specificity of the spatial organization of the Ak-Baur temple intended for funeral rites as well as the modern concept of its museumification are analyzed.

The National Science and Technology Week of 2017 was a great moment to show to the internal and external community of the IFSC the full potential in the area of structures presented in the technical and undergraduate courses of the DACC. With the aim of bringing the public closer to this area that often is repelled, spaces were created for structural simulator video game, manipulation of structural stability miniature systems and competition to identify the most resistant wood stick bridge.

An important part of human life is leadership. Without human leaders do not understand how to direct their responsibilities. In this article try to contribute about the leadership model of an apostle Paul. In this article we will describe the principle of leadership through the Apostle Paul's life experience. Expected through this writing is to add insight into Christians who are entrusted with leadership responsibilities. So it leads to leadership that glorifies God.

Depuis un siècle, le Musée de la Vie wallonne constitue une importante collection de jouets sur une période allant du xixe siècle à nos jours. Celle-ci comprend de nombreuses poupées. Dans un musée d’ethnographie et de société tel que le Musée de la Vie wallonne, les collections sont, notamment, les porte-paroles d’un discours critique sur les mœurs et les symboles d’un ou de plusieurs groupes sociaux. Le jouet reflète les bouleversements qui ont transformé l’époque contemporaine. Au-delà de la conservation des pièces phares, quelle place donner à ces objets au sein d’un musée ? Comment les présenter, les décrypter ? L’exposition Jouet Star qui s’est tenue au Musée du 18 janvier 2015 au 07 janvier 2018 présentait au public une déconstruction des messages véhiculés par les jouets. Elle affichait une volonté de casser les codes muséographiques des musées de jouets en mélangeant les époques, les styles, les matières et en offrant un découpage davantage thématique. La poupée est un sujet « bon à penser » mais aussi un objet bon à conserver et à exposer dans les musées. La muséalisation de cet objet, au lieu de le figer, doit le rendre vivant aux yeux des visiteurs. Dès son entrée en collection, le jouet devient passeur de mémoire et révélateur des représentations sociales et symboliques passées, présentes et à venir.

Romaniste, docteur en langues et lettres, Christophe Meurée est Premier assistant recherche et rayonnement aux Archives & Musée de la Littérature (AML) de Bruxelles. Dans le cadre de ses fonctions, il a été impliqué dans la conception et la réalisation de plusieurs expositions récentes de l’institution. Cet entretien s’inscrit dans le cadre d’une enquête menée par le réseau international de Recherches interdisciplinaires sur la muséalisation et l’exposition de la littéra­ture et du livre (RIMELL) au sujet des lieux d’exposition de la littérature et du livre.

The Nice and the Good is one of Murdoch’s ‘open’ novels (Conradi), which privileges the ways of exposure to the other. This it does by resorting to generic heterogeneity, using the conventions of the thriller and mixing them up with those of romantic comedy (as underlined by many critics), adding to them a measure of romance as the instrument not only of supernatural probing but also as a means of ethical exploration. As often with Murdoch’s fiction, the narrative addresses the conflict between narcissism and love, and this it does through an obviously didactic vein (as evinced in the characters’ discourse) and more especially by staging the relations among the cast of characters gathered in Octavian Gray’s estate. Murdoch’s exploration of this ethical conflict is investigated by staging ‘orectic’ (Nussbaum) characters radically drawn to the other and characterized by interdependence, hence vulnerability to the other, one of the main acceptations of the good relying on the ‘virtue of acknowledged dependence on the other’ (McIntyre). The search for the good life is also predicated on the powers of the imagination, whose lack is deplored and whose improvement is encouraged. Above all, it is through attention to details that the novel’s proposal of a practical ethics is put forward. This is shown negatively, when evil is equated to a lack of care, and positively, through the evocation of the characters’ attention to details of the natural and human worlds. The novel thereby favours a quality of attention to singularities (as opposed to abstractions) that defines our moral experience (Laugier) and that it expresses in terms of exposure to the other (Levinas), consideration of the other (Pelluchon, Massé) and care for the other (Laugier), thereby boosting up the relation and ethical aspects of attention. Ultimately, the novel considers aesthetic and ethical experience as perceptual training to what is less visible and perceptible, and above all, to take up Simone Weil’s definition, as the need to ‘concentrate [...] on the distance between what we are and what we love.’

Cushing´s syndrome is caused by prolonged exposition supraphysiological to endogenous or exogenous cortisol. Ectopic production of adrenocorticotropic hormone by lung carcinoid tumors is relatively rare. Most documented cases have been reported individually. This rare neoplasm low grade that may secrete adrenocorticotropin (ACTH) leading to rapid development of hypercortisolism which is the main mode of discovery, can be a real aggressive form. This report shows a high aggressiveness of this endocrine neoplasia, wich was marked on the general, morphological, bone and psychiatric level. The trivialization of clinical signs had caused the delay in diagnosis with irreparable bone consequences.

Entretien avec Yann Laville (MEN), Grégoire Mayor (MEN) et Boris Wastiau (MEG)

Le British Museum a accueilli la plus grande exposition de manga en dehors du Japon du 23 mai au 26 août 2019. L’une des trois curatrices, Nicole Rousmaniere, a accepté de répondre à nos nombreuses questions sur la mise en scène du manga, de la planche et des dessins originaux dans un contexte particulier où il faut à la fois poursuivre la politique de préservation des œuvres et attirer un nouveau public avide d’images « instagramable ». Elle nous explique comment son équipe a tenté d’exposer des objets initialement destinés à être lus, des dessins destinés à n’être qu’une étape intermédiaire avant l’impression de la planche, des productions culturelles originalement destinées à un public local.

The Museum of Kalmyk Traditional Culture named after Zaya-Pandita at the Kalmyk Institute for Humanities of the Russian Academy of Sciences has undergone some changes before being transformed into the museum. In 2001 there was Zaya-Pandita’s memorial study. In this connection in 1999 an exposition devoted to the anniversary of the Kalmyk national system of writing - «todo bichig» was organized. It contained manuscripts in both Tibetan and in «Clear Script», Oirat and Kalmyk settlement maps, as well as Buddhist cult objects and works of art. The purpose of the exposition was to show the activity of Zaya Pandita or Namkhaijamts (1599-1662) as a scholar and a founder of the Kalmyk-Oirat written language. The Museum of Kalmyk Traditional Culture named after Zaya-Pandita as a research unit of the Kalmyk Institute of the RAS has become a part of the academic museums of Russia. As a result of the museum’s conceptual development of the permanent exposition - «Kalmyk traditional culture in the historical context of ethnogenesis» was created which was supported by the Russian Humanitarian Science Foundation (Grant 02-01-1000 4б) within the framework of the museum project implementation. The study of culture is integrated into the museum, which functions not only as a repository and an educational institution, but also as an ethnocultural research center. Having been reconstructed by museum means, the structured model of the Universe has covered such aspects as the life of the nomads, as well as the time and space of traditional culture. Сoupled with culture, science and education, museum work is becoming an important social project in developing various conceptions. The museum embodies a qualitatively new content of the exposition in order to meet the needs of the visitors who are in search for cultural identity and adaptation in a changing social space of the modern world. The culturological conception of the exposition expresses the evolution of ethnic culture reflected in the art of the 19th-20th centuries. Folk art, decorative and applied art, as well as fine arts of Buddhism refer to material and cultural wealth of the Kalmyk ethnos. In accordance with the new exposition, arts and culture are interdependent in their historical development. The symbolic picture of the Universe has been recreated by means of art with the help of a selected collection of objects from the exposition. The evolution of the permanent exhibition of the Museum of the Kalmyk Traditional Culture is outlined by the movement from formal to conceptual artistic image.

This article proposes a way of formalizing the description of various types of relations between the elements of museum communication based on the semiotic approach and the concepts introduced by F. de Saussure, C.S. Pierce and C.W. Morris. Semiotic models can be used to explain the specifics of museum communication for museum studies and as a methodological basis for developing various versions of databases or other software for museum affairs.

Contrairement aux « paysages florissants » annoncés par Helmut Kohl à l’Allemagne de l’Est après l’unification, de nombreuses villes de l’ex-RDA, touchées par le déclin démographique, la désindustrialisation et les évolutions politiques, offrent des espaces urbains « perforés » par des « non-lieux », des friches, des no man’s land et des bâtiments abandonnés. Comment rendre compte de ces espaces, de leur histoire, de leur mémoire et aussi de la manière dont ils font trace au présent ? Comment permettre une appréhension critique de ces lieux aujourd’hui ? Deux historiens et un photographe racontent ici comment ils se sont associés pour proposer une réflexion sur l’abandon et les traces de la RDA à travers une exposition.

Contrairement aux « paysages florissants » annoncés par Helmut Kohl à l’Allemagne de l’Est après l’unification, de nombreuses villes de l’ex-RDA, touchées par le déclin démographique, la désindustrialisation et les évolutions politiques, offrent des espaces urbains « perforés » par des « non-lieux », des friches, des no man’s land et des bâtiments abandonnés. Comment rendre compte de ces espaces, de leur histoire, de leur mémoire et aussi de la manière dont ils font trace au présent ? Comment permettre une appréhension critique de ces lieux aujourd’hui ? Deux historiens et un photographe racontent ici comment ils se sont associés pour proposer une réflexion sur l’abandon et les traces de la RDA à travers une exposition.

The article is devoted to the historiographical review of publications dated by late XIX - early XXI centuries and containing information about amulets and talismans of the Egyptian faience, found in the settlements and burial grounds in Rostovskaya region. In order to refi ne the circumstances of identifi cation and origin of some objects, catalogues and archives where these objects were published were additionally used. This article is the fi rst experience in the Russian historiography related to the history of publishing of faience objects of certain shapes found on the territory of Rostovskaya region.

The opening of the Organ Hall in Chisinau and the acquisition of musical instruments typical of the Baroque era in their modern performance stimulated interest in the ancient arts. There were enough performers who wished to perform the concert programs of ancient music in order to realize their creative projects not only in the Organ Hall, but also in other halls. As shown by the practice of performing ancient music in the countries of Western Europe, the halls of museums and the halls of other ancient buildings turned out to be the most suitable for this purpose. The interest of listeners in the concerts of ancient music initiated the performers to create programs and expand the repertoire of baroque music, and improve their performing skills. Many outstanding Moldovan musicians, whose names are nowadays well-known, as well as those who left Moldova and became famous in other countries took part in the concerts. This process in the cultural life of the country promised to become traditional.

Written as a contribution to the Bagong Kasaysayan (BAKAS) movement that currently traces the Philippine political and cultural transformations that happened between the years 1890 and 1913 (recognized as a crucial period in the development of national consciousness of the Filipino), this paper rereads colonial discourses that were attempts at speaking for the natives, images that were constituted to showcase the Filipino, and colonizer and colonized accounts that were testament to the said experience. Today, colonial narratives make up the historical archives that scholars refer back to make sense of the past and of the Filipino’s experience. All through the 1870s to the 1930s, trade fairs were intended to create an impression, a world, and an exotic image that was and is servile to colonial ends. Though intended to highlight technological advances of the time, the Filipino was introduced in a re-staged, re-created approximation of his person (i.e., “halfdemon,” heathen, etc.) in quasi situ. Lifted out of context, he was read as an “Other”— and therefore inferior. In line with the Pantayong Pananaw resolve, the paper is written in Filipino as a way of enriching, re-writing, and reclaiming the Filipino’s sense of history and identity. Keywords:

En parcourant les articles de presse publiés suite aux manifestations surréalistes, on constate que toutes les grandes expositions internationales du surréalisme, avec ses conceptions uniques et ses mises en scène étranges, suscitent la fascination. Toutefois, en réalité, la presse s’indigne et malgré l’organisation minutieuse de la mise en scène, et en dépit d’un certain humour qui y persiste, les expositions essuient un grand nombre de moqueries. Cette réaction négative semble toutefois planifiée par les surréalistes, qui cherchent surtout à « exaspérer » son public. Pourquoi ? Comment cette tactique s’inscrit-elle dans la philosophie surréaliste ? En analysant des documents inédits – surtout des articles de presse commentant les grandes expositions internationales –, il s’agit d’étudier en détail la relation conflictuelle entre le surréalisme et son public, tout en exposant que l’attitude curieuse de « je t’aime/ moi non plus » sert de véritable instrument révélateur au groupe, destiné à éclairer le spectateur.

En parcourant les articles de presse publiés suite aux manifestations surréalistes, on constate que toutes les grandes expositions internationales du surréalisme, avec ses conceptions uniques et ses mises en scène étranges, suscitent la fascination. Toutefois, en réalité, la presse s’indigne et malgré l’organisation minutieuse de la mise en scène, et en dépit d’un certain humour qui y persiste, les expositions essuient un grand nombre de moqueries. Cette réaction négative semble toutefois planifiée par les surréalistes, qui cherchent surtout à « exaspérer » son public. Pourquoi ? Comment cette tactique s’inscrit-elle dans la philosophie surréaliste ? En analysant des documents inédits – surtout des articles de presse commentant les grandes expositions internationales –, il s’agit d’étudier en détail la relation conflictuelle entre le surréalisme et son public, tout en exposant que l’attitude curieuse de « je t’aime/ moi non plus » sert de véritable instrument révélateur au groupe, destiné à éclairer le spectateur.

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой.