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This article describes the state of museum education in Ukrainian museums after the Russian armed invasion. The research was based on interviews with museum workers from five cities in Ukraine. Museums represent different regions of Ukraine and museums of different directions. The author analyzes what changes have taken place in educational work during the last two years. [ABSTRACT FROM AUTHOR]

This special issue of Food, Culture & Society examines how fairs and expositions–at local, regional, national, and international levels–have reflected and shaped perceptions of food production, marketing, and consumption for mass audiences. It will consider the perspectives of fair organizers, publicists, exhibitors, concessionaires, restaurateurs, and participants in constructing and experiencing the diversity of food cultures on the fairgrounds and the social situations fairs and expositions can foster. These essays will examine food on the fairgrounds from a multi-sensory perspective, thinking about food not only as something ingested, but also engaged through display, art, and performance. This special issue seeks to place in conversation the scholarship on fairs/expositions with the history of food cultures around the world, the dynamics of its exhibition and display, and its promotion of community cohesion and culinary consciousness in order to demonstrate the importance of these mass cultural events as sites where local, regional, national, and corporate culinary identities are simultaneously made and unmade. [ABSTRACT FROM AUTHOR]

Copyright of Society & Leisure / Loisir & Société is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Life writing can provide a chronicle of experiences, but for many women as they age, it also presents an opportunity to find meaning. My written story began in my mid-forties, in contrast to my mother who wrote her autobiography during her mid-seventies. In this essay, I explore how my mother's inability to give voice to certain memories impacted on my own ability to write my life. Her efforts to stay on the surface drove me deeper. Our writing becomes a way of holding onto earlier versions of ourselves, however much these versions might contradict later perspectives. The process of life writing interacts with the experience of ageing in a way that can reinvigorate the writer, and the reader by association. We can achieve so much more on the page than our ageing bodies will allow in the physical world. This includes an overview of our lives and a way of making meaning out of the patterns we perceive with each passing year. Such patterns become more apparent with age. Secrets can reach the surface, particularly events such as incest, a central factor in my family story. Or they can remain hidden, as in my mother's attempts to sanitise the past. [ABSTRACT FROM AUTHOR]

A press photograph taken at the 1922 National Colonial Exposition in Marseille captures Hubert Lyautey, resident general of the French Protectorate of Morocco from 1912 to 1925, departing from his own Moroccan-style imperial tent, pitched in the courtyard of the French protectorate’s pavilion. While it is tempting to understand this image as rather generic colonial propaganda built upon a visual language of Orientalizing tropes, this study argues that Lyautey’s appropriation of elite Moroccan tensile architecture indicates the early French protectorate regime’s larger strategy of exhibiting cultural authority in the service of political legitimacy in colonial Morocco. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Small Business & Entrepreneurship is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One of the great intellectual conceits of the Western world in the nineteenth century was the invention of an artistic hierarchy, with the ‘fine arts’ considered more important than the ‘decorative arts’. This article investigates how the Western preoccupation with ‘fine arts’ affected the manner in which the Meiji period (1868–1912) Japanese government exhibited its nation's rich tradition of arts at international expositions. Expositions were the great arenas for industrial and cultural competition. The categorization of many of Japan's art forms as ‘manufactures’ at expositions turned what was an academic distinction into a political and diplomatic issue. Historically there was no distinction between fine arts and decorative arts, with no words in the Japanese language to express such a distinction. However, the categorization raised the fear that Japanese civilization would be considered second rate when compared with the West. This article focuses on this issue at the international expositions in Vienna in 1873, where the position was first encountered, in Paris in 1878 where it came to a head and in Chicago in 1893 where it seemed a resolution had been reached in securing international acceptance of Japanese ‘decorative’ arts as fine arts. [ABSTRACT FROM PUBLISHER]

Among the many endeavours of visualization that took place in fairs and expositions at the time of early cinema, one medium warrants closer attention than it has hitherto received: the scale model. Well suited to pedagogical ideals of overview and visual compression, the model may shed light on the specifically three-dimensional branch of exhibitory items, particularly in instances when it was used in conjunction with moving pictures. Chiefly on the basis of contemporary press sources, this essay explores two occurrences of smaller-scale farm models that were used in exhibitions in a context of multiple other media, including cinema. These instances of model culture reflect two very different aspects of Scandinavian–American relations during the mid-teens: on the one hand, a Swedish government-funded organization used the 1915 Panama–Pacific Exposition for political purposes, attempting to convince Swedish Americans to go back to Sweden and build their own small farms; on the other, a Norwegian official exposition in 1914 instead celebrated the success of Norwegian-American settlers. The essay investigates how the specific uses of the assembled media in each case articulate these aims and refract the more abstract political ideals behind them. It argues that in the media discourse surrounding these cases, the scale model was overwhelmingly favoured, at this point outshining the cinema as a perceived beacon of scientific exactitude and intuitive meaning. Perhaps for this very reason, the miniature in particular seems to have been allowed to invite affective relations with the spectator. [ABSTRACT FROM AUTHOR]

Do historians (of education) need philosophy? The paper suggests that historians do not need philosophical doctrine or (meta-)theory, or philosophical method, but that in so far as historians (as Koselleck states) are “writing their own time anew” and are “rewriting the past” (and so enlighten their present), they might find some help in a particular philosophical ethos: an ethos of discomfort or “attentive study”. First, how Koselleck describes the price that (famous) historians have paid for writing their own time anew and for rewriting the past will be sketched. This price entails, as will be argued, an uncomfortable exposition and estrangement of the researcher or writer. It is then suggested that such exposition and estrangement is also what is at stake in the ethos of a particular philosophical tradition implying exercises or askesis of uncomfortable exposition (or attentive study). This ethos will be sketched following Foucault, calling himself a “historian of the present”, not in order to intervene in the many controversies amongst historians surrounding his work but in order to support the initial suggestion that philosophy might be of some help for historians. Moreover the article will indicate how philosophy in this sense is intrinsically an educational endeavour (philosophy as education or paideia), although not an issue of learning (acquiring knowledge or competence). [ABSTRACT FROM AUTHOR]

This paper explores the political effects of the cognitive change in the visual environment of colonial Seoul. It asks how the new urban imagery was perceived by the Korean population. It analyzes the ways in which they experienced urban forms, techniques of advertisement and urban infrastructure such as street-cars and trains. It argues that the engagement of people with mobility, urban symbols and spectacles in the colonial city had stimulated different ways of seeing and thinking about who they were and what they had become, a new collective identity that is neither a subject of the Choso˘n dynasty nor the Japanese colonial state. This paper demonstrates that colonial Seoul represented not only the technique of Japanese colonial subjugation but also generated a new grammar for imagining new identity and difference. The urban environment of the colonial city reflects not entirely a strategy of the colonizer but a tactic of the colonized in appropriating the different meanings of new social life, which was brought by, but not exclusively under, the control of colonial space and time. [ABSTRACT FROM AUTHOR]

Neil BadmingtonFrom Critical Practice to cultural criticism: an interview with Catherine BelseyIn this interview, Catherine Belsey discusses the development of her work in English literature, critical and cultural theory, and cultural criticism over the last twenty-five years. She discusses the emergence and subsequent institutionalisation of ‘theory’ in the English-speaking world; her first encounter with poststructuralism, in the form of Barthes's S/Z; the importance of Lacanian psychoanalysis to her work; and the challenge posed by the new discipline of cultural criticism to both English literature and cultural studies in their traditional forms. [ABSTRACT FROM AUTHOR]

Statisticians acting as expert witnesses encounter special problems. These include (a) exposition of underlying methods and concepts, (b) the avoidance of data mining when attorneys wish to leave no stone unturned, and (c) the explanation of hypothesis testing versus prediction. Data management practices are particularly important. Appropriate and inappropriate forms of criticism are discussed, as is the problem of maintaining objectivity. Examples drawn from actual experience are given. [ABSTRACT FROM AUTHOR]