The Quandaries of the Small Museum

1995 ◽  
Vol 20 (1) ◽  
pp. 15-17
Author(s):  
Paul Katz
Keyword(s):  
2009 ◽  
Vol 25 (3) ◽  
pp. 194-203 ◽  
Author(s):  
Shulamith Kreitler ◽  
Hernan Casakin

In view of unclear previous findings about the validity of self-assessed creativity, the hypothesis guiding the present study was that validity would be proven if self-assessed creativity was examined with respect to a specific domain, specific product, specific aspects of creativity, and in terms of specific criteria. The participants were 52 architecture students. The experimental task was to design a small museum in a described context. After completing the task, the students self-assessed their creativity in designing with seven open-ended questions, the Self-Assessment of Creative Design questionnaire, and a list of seven items tapping affective metacognitive aspects of the designing process. Thus, 21 creativity indicators were formed. Four expert architects, working independently, assessed the designs on nine creativity indicators: fluency, flexibility, elaboration, functionality, innovation, fulfilling specified design requirements, considering context, mastery of skills concerning the esthetics of the design representation, and overall creativity. The agreement among the architects’ evaluations was very high. The correlations between the nine corresponding indicators in students’ assessment of their design and those of the experts were positive and significant with respect to three indicators: fluency, flexibility, and overall creativity. On the contrary, the correlations of the rest noncorresponding indicators with those of the experts were not significant. The findings support the validity of self-assessed creativity with specific restrictions.


Africa ◽  
1990 ◽  
Vol 60 (3) ◽  
pp. 425-434 ◽  
Author(s):  
Robert L. Tignor

Opening ParagraphIn 1938 an African building a house in the city of Ife, the cultural capital of the Yorubas and the mythical cradle of Yoruba civilisation, came upon an extraordinary cache of ancient Nigerian bronzes. In all, at least fifteen bronzes were uncovered in 1938 in a compound only 100 yards from the palace of the Oni of Ife. These bronzes were to prove of great historical and artistic significance. Until that time only two other bronzes had been unearthed in the Yoruba area, and one of those had disappeared, leaving Nigeria only a single original and a replica. In the disposition of the priceless new finds there ensued a tale of intrigue, prevarication, outraged nationalism, and narrow-minded ethnocentricism that drew into its maelstrom the British colonial government of Nigeria, the US Consulate in Lagos, and the USA's Department of State. Although the Ife bronzes, which today reside in a handsome if small museum in the city of Ife, are not so well known as, for example, the Elgin marbles or certain other antiquities taken from the Third World, the controversy surrounding their removal from Nigeria and their eventual return was filled with the same emotion and employed the same arguments heard today over the rightful location of national cultural treasures. The Nigerian dispute is made all the more poignant in that one of the major protagonists was not a money-seeking antiquities dealer, but a young American anthropologist destined to be one of the most astute and sympathetic interpreters of Yoruba culture.


OLA Quarterly ◽  
2012 ◽  
Vol 18 (3) ◽  
pp. 10-13
Author(s):  
Carolyn Purcell

1888 ◽  
Vol 9 ◽  
pp. 31-46
Author(s):  
L. R. Farnell

The classical museums of the Baltic cities are among the least known in Europe, and the accounts of the objects they contain have hitherto been desultory or are not recent enough to be of sufficient value. The present paper is not intended as an exhaustive register of the classical antiquities of Copenhagen, Stockholm, and St. Petersburg, but only as a short notice of such among them as are of some archaeological importance, and about which nothing or not enough has as yet been said. Judgment on these is often precarious, because it is difficult to discover their ‘provenance’ or the circumstances of their discovery. Of the classical antiquities in the ‘Prindsen's Palast’ at Copenhagen a detailed account was given by Wieseler in the Göttingen Gelehrte Anzeigen of 1863 (pp. 1921—1952); but there is now much in the small museum which is not noticed in his account, and which therefore has probably been more recently acquired. To the archaic period belong certain terra-cottas from Santarin, found together with a few vases of the geometrical system of ornament; the latter have been published by Ross and noticed by Conze, but as far as I can discover the terra-cottas are still unpublished. Two of these are worth special attention: (1) a small slab showing a winged Gorgon in full flight, of which the execution well illustrates the development of the free figure from the relief. The body is worked on both sides, but the whole form shows the impress of the relief style in the same pose of the limbs as appears in the so-called Nike of Archermos, in the Nike of Olympia, and in the relief-figure found on the site of the Hyblean Megara. The form of all these suggests at once that the motive was originally designed for relief-work, perhaps for metal plates or terra-cotta slabs to be attached to a background.


1965 ◽  
Vol 8 (2) ◽  
pp. 103-118
Author(s):  
Margaret W. M. Schaeffer

1985 ◽  
Vol 28 (3) ◽  
pp. 183-201
Author(s):  
Emilee M. Mead
Keyword(s):  

Book 2 0 ◽  
2021 ◽  
Vol 11 (1) ◽  
pp. 125-137
Author(s):  
Elaine Gold ◽  
Mark Turin

This interview between the Director of the Canadian Language Museum, Elaine Gold, and Board Member Mark Turin explores the history and goals of a small museum that achieves national reach through travelling exhibits dedicated to an intangible subject matter – language.


Sign in / Sign up

Export Citation Format

Share Document