Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>

Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>

Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>

Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>

Certain Results of an Axiological Analysis of the Russian Heroic Epic

Целью статьи является формирование представления о ценностном наполнении русского героического эпоса, основанном на результатах последствий поступков героев. Методология опирается на аксиологический анализ, механизм которого включает исследование мотивирующих героя ценностей, совершенного им поступка и последствий этого поступка. Различимые в былинах ценностные категории (слава, честь и др.) предполагают два сюжетно маркированных инварианта. На основании последствий (положительных или отрицательных) поступка героя, мотивированного, в свою очередь, той или иной вариативной ценностью, она либо утверждается, либо, наоборот, подвергается девальвации. Подобная закономерность позволяет осуществить классификацию былинных сюжетов и вынести общую содержательную оценку национальному эпосу. Учитывая, что девальвируемыми ценностями оказываются ценности «ветхого человека», совершенно оправданно говорить о том, что русская героическая поэзия является глубоко христианской по своему духу. The research aims to form an idea of the value content of the Russian heroic folk epic based on the consequences of the actions folk heroes undertake. The research method is an axiological analysis, which examines the values motivating the hero, the deed he commits, and the consequences (positive or negative) of this deed. Russian folk epics – despite their variability and no well-established scholarly opinion on their content and conception – reveal characteristic integrity and coherence when given an axiological interpretation. The latter implies that the following elements should be analysed: the values that motivate the hero, his deed, and its consequences (positive or negative). In Russian bylinas, one can easily discern such value categories as fame (slava), honour (chest’), fortune–fate (talan-uchast’), strength (sila), knightly heart (serdtse bogatyrskoe), and anger (gnev). Each category implies two plot-accentuated invariants: positive and negative. For example, the word ‘fame’ (or the phrase ‘great fame’ (slavushka velikaya)) may indicate both personal fame (almost inevitably pernicious for the hero) and the so-called common fame of all Russian knights (bogatyrs), service to which enables the character to save his life and freedom. Analogically, the word ‘honour’ may imply both personal material-symbolic ‘honour’ (i.e., valuable property, signs of public recognition, etc.) and ‘honor’ as related to some ‘external’ – from the hero’s perspective – realities: sacred objects, religious institutions and principles. Based on the positive or negative consequences provoked by the hero’s deed – the deed motivated by a certain variational value – this value is either strengthened or rejected. This regularity allows formulating an ‘axiomotif’ (a semantic or plot element, in which, via a cause-and-effect relationship of spiritual-psychological nature, the hero’s motivation, his deed, and the natural – from the perspective of an epic consciousness – consequences of this very deed merge into an inseparable unity), classifying different bylina plots (the author suggests distinguishing four plot types), and generally describing the semantics of Russian folk epics. Given the fact that, in Russian bylinas, the rejected values are conditionally non-Christian (particularly, personal fame and personal honour – as compared with the categories of Kievan knights’ common fame and the ‘honour’ of Orthodox sacred objects and principles, which are strengthened as bylina plots progress), it is only natural to assert that Russian epic poetry is profoundly Christian.

Religious and heuristic meaning of sacred places of memory: «Arasan-Korasan»

In general science, the concepts of "sacred" and "sacred" are comprehensively considered by the phenomenology of religion. The phenomenology of religion, analyzing these concepts, gives the following definitions. A saint is a value, or an action, given or created by the creator. In other words, it means sanctity, sanctity. And the concept of holiness is used in the implementation of these divine values, or actions. This concept is usually used in religious rituals and Customs. Sanctification is often characterized by the process of purification, removal, for example, exhalation, removal with a healing plant with adraspan, etc. The article provides a definition of the broad meaning of the concepts of" sacred "and" sacred " for the Kazakh people. Based on this, the research paper presents the results of the study of the history of the sacred place "sacred Arasan – Korasan" in Besmoynak village of Zhambyl District of Almaty region, the ways of religious and ritual pilgrimage of pilgrims, the sacral nature of springs, their importance in healing and healing, their place in the development of tourism, the name of the sacred place in general. The publication in the scientific literature of information about the sacred place of Arasan, about the properties of underground springs in it, contributed to the fact that this place was included in the list of sacred objects of interregional Kazakhstan, including Semirechye, and was protected by the state.