Extinct Monsters to Deep Time is an ethnography that documents the growing friction between the research and outreach functions of the museum in the 21st century. Marsh describes participant observati
Eastern European museums represent traumatic events of World War II, such as the Siege of Leningrad, the Warsaw Uprisings, and the Bombardment of Dresden, in ways that depict the enemy in particular w
In recent years, historical witnessing has emerged as a category of "museum object". Audiovisual recordings of interviews with individuals remembering events of historical importance are now integral
As one of the most visited museums in Germany's capital city, the Jewish Museum Berlin is a key site for understanding not only German-Jewish history, but also German identity in an era of unprecedent
Museums of history and contemporary culture face many challenges in the modern age. One is how to react to processes of Europeanization and globalization, which require more cross-border cooperation a
Online activities present a unique challenge for museums as they harness the potential of digital technology for sustainable development, trust building, and representations of diversity. This volume
Eastern European museums represent traumatic events of World War II, such as the Siege of Leningrad, the Warsaw Uprisings, and the Bombardment of Dresden, in ways that depict the enemy in particular w
Museums of history and contemporary culture face many challenges in the modern age. One is how to react to processes of Europeanization and globalization, which require more cross-border cooperation a
In an era cross-cut with various agendas and expressions of national belonging and global awareness, “the nation” as a collective reference point and experienced entity stands at the center of complex
Wintle (history of art and design, U. of Brighton, Britain) traces the history of a particular set of objects amassed by British travelers in islands of the Indian Ocean during the late 19th century,
Tythacott (museology, U. of Manchester) follows a group of images she calls the Puto Five through a succession of exhibitionary realms from the temple in China where they were worshiped for centuries
