中国电信类博物馆现状与发展研究

电信类博物馆是以电信行业发展为主题,收藏、保管、展览、研究电信文物的专门机构。本文将我国现有的电信类博物馆按隶属单位、展示内容、展示逻辑和馆舍建筑等几种不同方式进行分类梳理。目前电信类博物馆在参观途径、观众构成、展陈、藏品、社教和研究等方面还存在一系列的问题。除客观因素外,导致这些问题的根本原因是博物馆缺乏清晰的办馆目的,需要结合实际情况在具体工作中加以改进。     

浅谈展场设计中企业形象的规划

通观成功企业设计形象的特点,认为展示设计形象的建立可以分为两种类型：一类是元素形象型,另一类是理念印象型,并给出了一些代表性案例加以说明。     

浅论专题展览设计语言

作为一个专题展览,它的展示语言应是设计者所要把握的一个主要方向,就总体来说:在理念上它与基本陈列虽同属陈列范畴,但在设计语言上却有其独立的程式及特点。展览设计语言是通过设计者的思考所体现,因此,在专题展览中设计语言与环境、色彩、文字及版式中存在着很多的相关联系,对此进行粗浅的探讨和研究。     

上海体育会展的创新发展

分析了目前上海体育会展发展的优势以及出现的问题,提出了上海体育会展进一步发展的对策：关注市场动向,加大专业观众的培植,构筑好“品牌”主体,健全“资本”与“技术”两翼,继续清晰产权、完善行业规范,不断创新和学习。     

The rhetorical construction of Popular Front France in the fascist Italian press during the ‘Paris, 1937’ international exhibition

This article will discuss propaganda in the press used by the Italian fascist regime to create and disseminate a negative image of France and socialism. The ‘Paris, 1937’ exhibition represented a pretext for the Italian press to attack the Popular Front on both policy and competence. Manipulating information, the propaganda fabricated an idea of ‘otherness’, presenting France as the chaotic antithesis to the orderly Italian regime. France was presented as a country full of drunks and idlers, as a nation descending into chaos due to the social economic reforms of the Blum government; images that were juxtaposed with a state thriving under fascist corporatism. With the use of archive files and press-clippings, this work intends to illustrate the construction of stereotypes to feed the fear of socialism in Italy by the fascist press.     

博物馆参与式展览中的国家精神价值阐释——以新加坡游乐场(1930-2030)主题特展为例

新加坡国家博物馆的“当我们同在一起:新加坡的游乐场(1930-2030)”展览,以新加坡游乐场的发展历史为叙述主线,将知识宣教与参与式体验相结合,其立意并不限于游乐场自身的形式与设计之变迁,而将游乐场作为一种公共空间和社群交往的媒介,呼唤新加坡人重建社区认同,并以之助力于国民性之塑造。它也使我们得以思考,国家与社会倡导的核心价值观融入展览制作的策略性方式。     

博物馆叙事研究综述——兼论展览叙事核心议题

叙事学发端于20世纪早期的西方文学研究,至90年代延展至博物馆学领域,应用于分析和指导博物馆的叙事,至今已经取得了丰硕成果。2000年后,我国开始对博物馆叙事展开讨论,并经历了三个发展阶段。研究以展览叙事为重点,从文本内容和话语表现两个层面,在内涵特征、作用意义、构建方法和语境关系上取得了一定进展。但整体而言,我国博物馆叙事研究还存在着对理论的认识和应用不足,缺乏宏观思考等问题。     

Teachers Curating Virtual Exhibitions for Learning Visual Arts: A Study of Impact and Effectiveness

Although visual arts teachers have free access to high quality online artwork images offering them immense teaching resources, making meaningful use of them remains a pedagogical challenge. During the COVID-19 pandemic, the transition from face-to-face to online teaching caused an immediate need for teachers to enhance their digital competencies and technological capability for planning and delivering a blended art curriculum. Herein, I propose a ‘teacher-curator pedagogy’ via a study in six primary and secondary schools in Hong Kong to assess its effectiveness. The study took place in the academic year of 2021-22 with 331 student participants. The proposed pedagogy puts visual arts teachers in the role of ‘digital curators’ who create virtual exhibitions for teaching art appreciation and artmaking. This paper addresses the theoretical framework, implementation strategies, and the results of the study highlighting its effectiveness, impact and limitations on teaching when using teacher-curated virtual exhibitions in both physical and virtual learning contexts. It was found that the technological capacity and confidence of the teacher participants was enhanced through the use of online resources and virtual exhibition tools. Making use of the 3D presentation of exhibits in themes and context through digital content curation, the teachers engaged students with deep interaction through the blending of online and face-to-face teaching. However, the proposed pedagogy was limited by the high demand of training and preparation work, hardware and software support, and difficulties in assessing and monitoring learning beyond class.     

新时代档案展览的海外推广研究

把中国档案精品通过海外展览的方式推向全世界,是新时代国家档案事业服务于“文化自信”建设的应有命题。档案展览的海外推广,既面临着难得的机遇—— 政策上的大力支持与技术上的逐渐成熟,又面临着严峻的挑战—— 如何从原始记录中提炼档案故事与在展览交流中激发文化认同。“形式上尽可能丰富”与“内容上尽可能活态”是新时代“档案展览的海外推广”可予以重点研究的两条路径。     

营造场馆特色:基于藏品的传播策略

目前我国科技馆对科技藏品重视不足,未能善加利用科技藏品的历史意义和丰富内涵编撰展览“故事线”,同时对科技藏品的学术研究力度不够。本文通过对美国加州科学中心“奋进号和加州的故事”等展览的考察与分析,并结合“情境教学法”及“沉浸、认知”等相关概念,探讨科技藏品在“讲故事”、深化展览思想内涵、开发文创产品、营造场馆特色等方面的特殊作用。