Museum Anthropology

Dary Dominika Radziwiłła (1786-1813) dla puławskiej Świątyni Pamięci ze zbiorów Muzeum Książąt Czartoryskich w Krakowie w świetle wybranych źródeł Dominik Radziwiłł's (1786-1813) gifts to the Temple of the Sibyl at Puławy from the collection of the Czartoryski Museum in Kraków, based on selected sources Abstrakt: W artykule omówiono wyniki badań proweniencyjnych militariów ofiarowanych do Świątyni Sybilli w Puławach przez ordynata nieświeskiego i ołyckiego księcia Dominika Radziwiłła-wychowanka Adama Kazimierza Czartoryskiego, przyjaciela jego młodszego syna Konstantego, który wraz z nim obrał w swej wojskowej karierze kierunek napoleoński. Swą wierność Cesarzowi Francuzów przypłacił najpierw utratą znacznej części majątku w 1812 r., a nieco ponad rok później-własnym życiem. Analiza zachowanych archiwaliów pozwoliła na wyłonienie zespołu zabytków wywodzących się ze zbiorów radziwiłłowskich oraz przybliżenie nieznanych dotąd faktów na ich temat. Słowa kluczowe: Czartoryscy, dawna broń i barwa, Dominik Radziwiłł, kolekcjonerstwo, zamek w Nieświeżu.

Prawa autorskie (c) 2025 Kwartalnik Historii Kultury Materialnej

Museums in Ukraine’s Donbas region have endured a protracted war since 2014: many were occupied, looted, and re-established in Ukrainian government-controlled territory, leaving behind collections. Against the backdrop of the events of 2014, this paper offers a brief analysis of how museums attempted to safeguard and evacuate their collections when Russia launched the full-scale invasion of Ukraine. Identifying key factors behind the widespread lack of successful evacuations, the paper touches on the social and financial cost of contingency planning, the distribution of responsibilities and resources, institutional bottlenecks, and altered perceptions of risk in war-affected areas.

Neste artigo tentamos perceber de que forma os museus podem ter um potencial ecológico e regenerativo. Construídos como um mundo à parte do mundo que pretendem representar, os museus encerram objetos e, partir deles, constroem narrativas e fixam epistemologias. O que propomos neste artigo é que a partir dessa história de isolamento e acumulação de objetos se opere um pensamento regenerativo que permita recriar laços perdidos em que as coleções possam ser mediadoras numa aproximação ecológica ao planeta.

Being a crucial part of the US-led Asia-Pacific security framework and standing against PRC expansion, Taiwan and its off-shore islands acted as an anti-communist bulwark during the Cold War. Under the prevailing fear of communist infiltration, it is somewhat surprising that ROC authorities opened its door and promoted international tourism in 1956. In the mid-1960s, as part of a policy to accelerate the promotion of Taiwan's international tourism, the Kuomintang (KMT, Chinese nationalist) government launched Tourism in Taiwan 觀光 1 (1966 ~ 1974), the first and one of the most important official bilingual monthlies to promote the island as an international tourist destination. In the magazine, Taiwan was portrayed as the reservoir of traditional Chinese culture on the one hand, and a tropical pleasure island of sunshine, sandy beaches and natural beauty on the other. To understand the somewhat surprising move taken by the KMT leadership and explore how the island was imaged as an international tourist destination, this chapter considers the ways in which the island was portrayed, explores the messages the magazine attempted to convey, and reflects on the embedded power relations in the shaping and construction of Taiwan's tourist 'brand.' Through a systematic examination of 87 issues of Tourism in Taiwan, I investigate how this nationbranding practice was conducted, and why and how international tourism became a useful political tool for the ROC to win favor with its greatest allythe US. In so doing, this investigation reveals a constant tension between the imagination of a 'tropical paradise' (by Anglo-European tourists), the portrayal of a 'Chinese island' (by the KMT), and the provision and reshaping of local cultures and tourist resources. This examination demonstrates that the international tourism branding was not a simple matter of economic activities that were solely devised by local authorities or the tourism industry. Rather, the building, (re)imaging and construction of the island's 'tourability' reflected complex power relations between its many 'authors' in this nation-branding process. 1 The Chinese title of the first issue, "Taiwan Guanguang," was simplified to "Guanguang" in Issue 2, while its English name remained unchanged.

The aim of this paper is to examine whether the proper management of cultural resources such as natural food products (based on theoretical principles, practices and methodologies developed currently in the field of place identity and destination branding) can help in the development and promotion of an area. As a case study, the natural foodstuff pistachio and the island of Aegina in Greece will be presented. A small island, such as Aegina, would be expected to willingly use its cultural resources, in an effort towards sustainable socioeconomic development of the local community. Combined use of mainly qualitative research methods and technique was adopted. Additionally, a limited research was conducted, concerning the residents' attitudes in relation to the pistachio as a cultural resource. It was ascertained that the place branding process is not simple at all. As long as Aegina considers pistachio as an ordinary product and not as an industry, that involves risks, that also requires promotional processes as well as pioneering initiatives and innovative procedures, the resulting process is inefficient, promotion is fragmentary and does not result in the expected success. Using merely a pistachio logo does not lead to the results of adopting a study of a long-term strategy. It is suggested that the island of Aegina should invest in the creation of a new identity. Priority should be given to an ambience of cooperation and, as the research has shown, an alliance between local businesses would be beneficial.

Exhibit review of the redesign of the Northwest Coast Hall at the American Museum of Natural History, the museum's oldest gallery, built in 1899 under the direction of American anthropologist Franz Boas and updated in institutional collaboration with a group of consulting indigenous curators.

Es lag an den Situationen, an den Momenten der ersten Begegnung mit den Dingen, die mir über ihre bloße Erscheinung hinaus eine Vielzahl von geheimnisvollen Geschichten erzählten. Sie waren für mich Anlass, mich mit ihnen zu beschäftigen. Diese Begegnungen begannen schon in meiner frühen Kindheit. Ich wurde 1952 in Trier geboren, in einer Zeit des beinahe abgeschlossenen Wiederaufbaus und des beginnenden wirtschaftlichen Aufschwungs in Deutschland nach dem Krieg. Bis zu meinem zehnten Lebensjahr lebte ich mit meinen Eltern und Geschwistern in einer Baracke mit einem riesigen Garten, der für mich ein Paradies war: Ort intensiver Naturerfahrungen und Experimentierfeld zugleich. Die Jahreszeiten, die Tiere, die Pflanzen-ich erlebte sie mit großer Unmittelbarkeit. Geprägt war diese Kindheit auch durch die Nachkriegsmentalität im Umgang mit den Dingen: Sammeln, Sparsamkeit, Improvisation. Es war das Ethos des "Selbst ist der Mann", eine Art Alchemie des Überlebens, das meinen Blick und meine Aufmerksamkeit schärfte. Hinzu kam die Unterstützung durch meine Eltern. Mein Vater stand für die dingliche Welt; als Kunstglaser brachte er mir handwerkliches Wissen nahe. Meine Mutter prägte mich durch ihre tiefe katholische Religiosität und öffnete mir den metaphysisch-transzendentalen Bereich. So entwickelte sich früh meine Affinität zu Materialien-nicht nur aus existenziellen Gründen, sondern auch aus Faszination für ihre Erscheinung, ihre Haptik und ihre vielfältigen Assoziationen. Diese Sensibilisierung führte zu einer Fetischisierung der Dinge, die in fabulierenden Geschichten und Arrangements ihren Ausdruck fand: meine erste Begegnung mit der Poesie. In unmittelbarer Nachbarschaft befanden sich die römischen Kaiserthermen. Wenn ich im Garten grub, stieß ich auf Mauerreste, Töpfe, Scherben, Bronzemünzen. Trier wurde für mich zu einer unerschöpflichen Fundgrube. So entstand meine Sympathie für das Suchen und Finden, für das Abschätzen des Wertes eines Fundstücks und das Erfinden von Geschichten, in denen diese Dinge eine Rolle spielten.

This student-faculty collaborative blog explores the experiences of two anthropology majors, Tiffany Huang and Neo Khambule, as part of the 2024 Public Humanities Collaborative (PHC) at Trinity College. Under the guidance of Assistant Professor Amanda Guzmán, the students engaged in an experimental pedagogical project focused on object-based research, exploring two distinct assemblages: 20th-century Chinese folk costumes and Puerto Rican archaeological materials. Their work aimed to train them in archival analysis, digital scholarship, and public storytelling through digital platforms like ArcGIS and 3D modeling. The students reflect on their evolving positionalities, the iterative process of object documentation, and the challenges of interpreting material culture while considering the ethical complexities of stakeholder relationships. The blog also highlights the development of the Trinity College Anthropology Object Lab and its potential for fostering future research. The blog concludes by considering both the limitations and transformative potential of object-based learning, as students integrated diverse perspectives and digital tools to contribute to a growing archival collection and foster ongoing academic engagement with material histories.

This co-authored blog contribution to Anthropology News' volume of care, from the perspective of museum anthropology, challenges conventional models of anthropological practice by advocating for Indigenous methodologies as central to research and care frameworks, rather than alternative perspectives. The authors reject hierarchical distinctions in caregiving, emphasizing instead stewardship and collaboration within ecosystems, archival collections, and communities. They explore the reconciliation of museum accumulation with community loss, proposing a relational accountability model that integrates acts of extraction and repair in both past and present contexts. Through case studies highlighting material fragility caused by colonial histories, the text calls for a reevaluation of anthropological work to acknowledge the ongoing relationality between human projects and natural and digital ecosystems. It encourages an openness to diverse, non-hierarchical understandings of what it means to care for objects, resisting simplistic classifications and fostering a more ethical, collaborative approach to material culture.

1999-ben egy üzletház építése miatt költöztették másik épületbe a JPM Természettudományi Osztályát 1 . A Rákóczi útról költözött el a gyűjtemény és a munkatársak, ezért le kellett bontani a régi kiállítást is. Ekkor kapta meg az Osztály a Zsolnay-szobornál, a Szabadság utca sarkán álló épületet. Ebben a cikkben az azóta eltelt 25 év történéseit, az Osztály elmúlt negyed évszázadának munkáját foglaljuk össze, melyben közel 100 időszakos kiállításról, 250 publikációról, sikeres családi-és gyermekprogramokról, fesztiválokról, múzeumpedagógia nívódíjról is beszámolunk.

Este reporte de caso sintetiza los resultados de una etapa parcial del proceso de reorganización del archivo fotográfico del Museo del Oro del Banco de la República iniciado en el 2021. Este consistió en la valoración diagnóstica e histórica del material visual allí resguardado. El documento sintetiza el procedimiento realizado, el cual supuso un diálogo estrecho entre la historia y la archivística, presenta los principales resultados de dicha valoración y ofrece una breve reflexión sobre los problemas metodológicos que surgieron.

Indian museums, long shaped by colonial frameworks, have often prioritized materiality over lived experiences, sidelining indigenous voices. Decolonizing these spaces requires inclusive curation, transparent repatriation, and innovative storytelling that reconnects artifacts with their cultural ecosystems. Collaborative approaches that engage local communities and oral histories can foster shared heritage. Ultimately, decolonization is less about reclaiming objects than about transforming museums into inclusive spaces of dialogue, memory, and cultural plurality.

This radiobroadcast debate between Dr. Duane T. Gish of the Institute for Creation Research (ICR) and Frank R. Zindler of the Central Ohio Chapter of American Atheists aired on January 11, 1990 on Jim Bleikamp’s “Night Talk,” on WTVN-AM Radio in Columbus, Ohio. Gish was both the most skilled and the most notorious Creationist debater of the last third of the 20th Century and the early years of the 21st Century. By careful wording of the question being debated, Gish was tricked into conceding that Creationism isn’t science within the first few minutes of the debate. Zindler’s copiously annotated transcript of the debate provides both valuable insight and primary-source information, and it can be used as a textbook and guide for debunking Creationists whose honesty can seriously be called into question. Appendix A lists the definitions and beliefs of the ICR, and can be used to embarrass other debaters emerging from that institution. Appendix B, Thomas Henry Huxley’s lecture “On the Method of Zadig” provides further refutation of Gish’s claim that “science can only deal with the present, not the past.”

Este trabalho aborda as festas de santo como uma manifestação vivida por povos indígenas do médio rio Negro (AM). As mesmas são entendidas como uma ressimbolização indígena dentro de elementos de devoção deixados pela histórica ação missionária na região. Para contextualizar, o tema faz primeiramente uma apresentação da história de contato que resultou na configuração étnica atual da região. Na segunda parte, trata mais especificamente da formação dessas festas e faz uma descrição etnográfica de sua estrutura para depois intuir e considerar possíveis relações de continuidade e ressignificações de elementos indígenas a partir das antigas formas rituais de socialização que persistem.

As últimas décadas intensificaram os debates em torno da chamada “museologia colaborativa” e da necessária revisão crítica das relações de poder instituídas na formação das coleções e dos museus. Dos debates da Mesa de Santiago do Chile à Declaração de Quebec, dos tensionamentos entre Antropologia e Museus às críticas à colonialidade, o campo museológico vem ampliando as possibilidades dialógicas e
estabelecendo novos parâmetros na prática museal. Esta pesquisa investiga como as instituições museológicas sediadas em Porto Alegre têm acompanhado os debates intelectuais e as reivindicações sociais contemporâneas, revisitando suas práticas na direção de uma museologia reflexiva e colaborativa. Para esta etapa da pesquisa, o recorte empírico apresentado compreende o Museu Antropológico do Rio Grande do Sul (MARS) e o Museu Histórico Júlio de Castilhos (MHJC), instituições públicas que se destacam pela atuação reflexiva e colaborativa em
proximidade com diferentes segmentos sociais, em especial, comunidades indígenas e afro-religiosas. Se tais atuações promovem significativos deslocamentos e reconsiderações em torno dos princípios de curadoria, ação educativa, gerenciamento de acervo e pesquisa nos museus, também tornam evidentes os desacordos entre as possibilidades e limites operacionais dos museus na implementação de ações contínuas e institucionalizadas.

Geochemical methods can identify the long-distance exchange of resources in the archaeological record. Cinnabar is a mineral with a limited number of geological sources; however, methods for determining the geological origin of cinnabar are constricted by the limited availability of comparative geological source materials. This study applies a multi-method approach to compare isotopic ratios of mercury and sulfur in archaeological specimens of cinnabar from museum collections and scientifically excavated materials from the Andes region of South America. We demonstrate that the δ 202 Hg to Δ 199 Hg relationship, assessed through Multicollector Inductively Coupled Plasma Mass Spectrometry (MC-ICP-MS), falls along a predictive slope, while Isotope Ratio Mass Spectrometry (IR-MS) for sulfur (S) was not a reliable proxy for determining ore source. Furthermore, Hg isotope ratios from similar sites and contexts tended to cluster, suggesting that most sites exploited cinnabar from the same ore source. Statistical analyses support the idea that the Huancavelica deposit served as the primary source of cinnabar pigment for pre-Hispanic societies, while also revealing some intriguing divergences that suggest alternate sources were exploited during certain periods on the North and South Coasts of Peru. These results demonstrate that MC-ICP-MS analyses of mercury can be used to geochemically trace cinnabar ore in the Andes and beyond.

In this work we explore the personal archive of the german born engineer Jorge von Hauenschild held at the Museo de Antropología, Universidad Nacional de Córdoba. Through an excavation of the museum archive, we recreate his life using the rich archival material and archaeological artifacts from the collection which bears his name. Most of these objects were collected during his field work in the decades 1920-40 in the province of Santiago del Estero, Argentina. We implement a cultural biographical approach (sensu Kopytoff) to reconstruct different important events during his lifetime. We argue that archives are critical in the knowledge production in archaeology and that we must invest more time in museum archaeology to investigate the history of the discipline. Our approach enabled us to engage and interact with archival source material and archaeological collections, to shed new light on how this scholar worked in the field context and how the latter studied his findings in a laboratory setting, through new and modern methods for that time.

This chapter is based upon analysis of 13 online focus groups conducted with members of the public in Northeast Ohio in the US between 2021 and 2023 on the topic of science, identity, and values. It presents data on the national picture in terms of demographics, politics, science, and religion. This leads onto consideration of how participants discussed religion and science. A picture of complementarity and separateness emerges, plus some perceived conflict. What is interesting is how much consensus emerges, across religious and non-religious identities. Some views expressed diverging from scientific consensus are then presented. In line with national patterns, these were rare in the focus groups, and enthusiasm for science much more common. These findings suggest taking care when interpreting survey responses and, perhaps, shifting attention to science enthusiasm, joy, and approval.

The anatomy museum of the University of Chile: a national monument The accrual of anatomical preparations since the nineteenth century in Santiago, Chile, became the so called "anatomical cabinet" under the supervision of professor Julio F Lafargue. Afterwards, this cabinet evolved to form an anatomical museum in the mid twentieth century. It contained preparations using corpses whose identification was not known. Now, the corpses are donated through a body donation program that started thirty years ago. The collection contains, among other interesting items, a situs inversus preparation, Juan Martel's mummy, Tramond house wax preparations and a jibarized head. Nowadays, the museum is open to the community, its collection is recognized as a national historical monument, and has links with other university museums in the country and abroad.

This book is written in the Teetł’it Gwich’in dialect and in English. The stories are told primarily by Mary Kendi with additional stories from Joan Nazon, Catherine Mitchell, Elizabeth Greenland and Annie Benoit. The stories and are aimed for children 6-12 years of age. The story has an accompanying audio track where the story is read aloud in Gwich'in. The stories were taken from Mary, Joan, Catherine, Elizabeth and Annie’s stories as they appear in Our Whole Gwich’in Way of Life Has Changed / Gwich’in K’yuu Gwiidandài’ Tthak Ejuk Gòonlih Stories from the People of the Land. By Leslie McCartney and Gwich'in Tribal Council. Published by University of Alberta Press (2020).

This book is written in the Gwichya Gwich’in dialect and in English. The stories are told by Antoine (Tony) Andre and are aimed for children 6-12 years of age. The story has an accompanying audio track where the story is read aloud in Gwich'in. The stories were taken from Antoine’s stories as they appear in Our Whole Gwich’in Way of Life Has Changed / Gwich’in K’yuu Gwiidandài’ Tthak Ejuk Gòonlih Stories from the People of the Land. By Leslie McCartney and Gwich'in Tribal Council. Published by University of Alberta Press (2020).

This book is written in the Teetł’it Gwich’in dialect and in English. The stories are told by Alfred Semple and are aimed for children 6-12 years of age. The story has an accompanying audio track where the story is read aloud in Gwich'in. The stories were taken from Alfred's stories as they appear in Our Whole Gwich’in Way of Life Has Changed / Gwich’in K’yuu Gwiidandài’ Tthak Ejuk Gòonlih Stories from the People of the Land. By Leslie McCartney and Gwich'in Tribal Council. Published by University of Alberta Press (2020).

Losy skarbów Hochbergów . Zamek Książ -Fuerstenstein, pałac Czettritzów jako miejsce ukrycia sreber i klejnotów Hochbergów. Powojenne losy wyposażenia zamku Książ. Tajemniczy konwój z klejnotami księżnej Daisy opuszcza Wałbrzych. Zmierzch imperium gospodarczego i współpraca Hochbergów z Hitlerem.

Volet 3 -12-14 novembre 2025 -Université de Poitiers " Gestes de réanimation : prendre soin de la marionnette " Dans les arts de la scène, l'esthétique, la critique, les recherches historiques se focalisent essentiellement sur les figures de l'artiste-créateur⸱rice, qu'il⸱elle soit interprète, metteur⸱se en scène, auteur⸱rice dramatique, dramaturge. Le travail créateur et le travail technique font l'objet d'enjeux distincts, du point de vue de la formation notamment -où s'opère une scission nette entre études techniques et études sur le jeu de l'acteur⸱rice ou la dramaturgie -, du point de vue de la rémunération et de la reconnaissance également. L'artiste et le⸱la travailleur⸱se appartiennent à deux catégories bien distinctes, l'une en pleine lumière, l'autre dans l'ombre. Cette scission semble moins nette dans les arts de la marionnette, où le geste technique et son implication dramaturgique sont souvent assumés par la même personne face au public. Dans la majorité des esthétiques actuelles, la manipulation est à vue, les coulisses se trouvent alors comme déplacées en scène : les gestes techniques, de construction du personnage, d'agencement de l'espace de jeu, habituellement invisibles sont alors visibles. L'interprète est à la fois personnage, technicien⸱ne, créateur⸱rice de formes, monteur⸱se autant que montreur⸱se. C'est précisément cette entrée technique qui nous intéressera, la persistance de ces gestes, leur visibilité dans le temps de la représentation. Comment envisager la dimension artisanale des arts de la marionnette ? Il ne s'agira pas tant de saisir comment la marionnette figure tel ou tel geste (ce geste en marionnette) mais de porter un regard sur l'interprète et la fabrique, d'explorer de façon systématique un geste à travers des échanges avec des praticien⸱nes, constructeur⸱rices, artistes. Que se passe-t-il dans les "coulisses" des spectacles : autour et derrière la scène autant qu'en amont de la représentation ?

This article examines the dynamism of art and material culture within the Gija community of Warmun, in the East Kimberley region of Western Australia, and how it is used to sustain continuing traditions and negotiate change. Ethnographic accounts of events surrounding the creation, use and circulation of artworks and material culture reveal how they operate within networks of kinship and custodial responsibility. An analysis of the Warmun Community Collection introduces the categories of enculturation, acculturation, and hybridity to illustrate how Gija people have responded to internal and external socio-cultural systems amongst socio-historical change. Drawing on the concept of relative autonomy, the article argues that in Warmun, cultural succession through artwork and material culture is a relational process that maintains degrees of independence, whilst being shaped by internal and external forces.

A partir de octubre de 2005 se comenzó a trabajar en el proyecto de investigación "Las Fiestas del Centenario como formas de identidad entre pasado y presente". Éste borda sobre dos sucesos emblemáticos de comienzos del siglo XX: las Fiestas del Centenario de la Independencia de México, organizadas por el gobierno del general Porfirio Díaz en 1910, y las Fiestas del Centenario de la Consumación de la Independencia, realizadas en 1921 por el gobierno revolucionario del general Álvaro Obregón. Dentro de la investigación se contempla el estudio de varios temas: la construcción histórica y antropológica de la festividad de Independencia; las conmemoraciones septembrinas durante el porfiriato; el

The regional history of India is vividly reflected in various aspects such as language, architecture, sculpture, painting, customs, and folk culture. Bhagwanpur, located in the East Medinipur district on the southwest border of West Bengal, is a remote area close to Orissa. As a result, the region shares similarities with Orissa in terms of language and culture. This region’s art, culture, religious beliefs, rituals, and folk traditions are deeply rooted in geography, climate, social structure, group traditions, and social interactions among people. One of the main attractions of Bhagwanpur is the presence of numerous terracotta temples, each showcasing unique class and variety. These temples hold significant historical, archaeological, and folklore importance, serving as places of religious worship and as examples of artistic expression. Another notable aspect of the region’s culture is the worship of folk deities, around whom various legends and temples have been built. These folk beliefs and religious practices have been passed down through generations, predating the worship of mythological gods and goddesses. The hymns dedicated to these deities are written in Sanskrit, and they are often worshipped alongside mythological deities in the same temples, reflecting a process of Aryanization. On the contrary, the impact of Orissa culture, specifically related to Krishna and Vishnu worship through Jagannath, can be seen in the region's public life, language, and spiritual practices. Bhagwanpur has maintained its distinct identity by blending folk culture with architectural influences from India and West Bengal, dating back to its time under the rule of Gajapati and Ganga rulers. The area's ancient temples and sacred sites stand as a symbol of its diverse architectural heritage, philosophical teachings, historical significance, and traditional customs. This article primarily aims to showcase the folk deities of the Bhagwanpur region, along with the diverse religious practices, folk art, crafts, and traditional sports that have flourished in this area. Additionally, it will explore how Bhagwanpur has embraced and incorporated elements from the cultures of Orissa and Bengal, ultimately giving rise to a distinct and independent cultural identity. This culture is a remarkable testament to the region’s ability to foster uniqueness amidst a backdrop of diversity.

This is an exposé of the Institute for Creation Science and its Graduate School Catalog that claims to be doing scientific research and training graduate students to do “creation research.” Actually, no scientific research is carried out at the ICR, and faculty are required to sign a declaration of belief in the literal truth of the creation and flood accounts in the Book of Genesis. Whereas real scientists do not know for certain how an experiment will turn out until it is performed, and cannot be sure what they will find in nature until they have looked, creation “scientists” think they can start their “research” with the conclusions desired, then look for possible supporting evidence — almost as an afterthought. This is science in reverse.
A committee appointed to evaluate the “science” being carried out at the ICR “Graduate School “reported that “the Biology laboratory contains a small amount of equipment of the sort found in a very modestly equipped high school. There is no equipment of any sort for carrying out experiments in biochemistry or molecular biology … ICR offers no opportunity for training in mod¬ern experimental biology, and this deficiency inevitably will impact the ability of ICR graduates to function later as teachers.”
Despite the ICR claim that there are two types of creationism—Biblical and Scientific Creationism—the only difference is the amount of deceit required to try to evade the radar of the First Amendment. The ICR is trying to train creationist biology teachers to infiltrate the public schools in order to nullify the teaching of evolutionary science.

Å intervenere tilsier å gripe inn. Det samme gjelder for kunstneriske intervensjoner. Men der en alminnelig intervensjon kommer overraskende på den mottagende part er kunstneriske intervensjoner ønsket av den mottagende part da denne type intervensjon ofte er bestilt. I selskap med kunstneriske intervensjoner finner man gjerne invitert kritikk og institusjonskritikk som tilsier et kritikkgrunnlag i interveneringen. En institusjon inviterer således én eller flere kunstnere inn i institusjonen for å kritisere, problematisere og belyse aspekter ved institusjonenen form for selvevaluering. Dette var tilfellet ved Museum Stavanger i 2014 da de åpnet utstillingen Hvem eier historien? Makt kunst og demokrati i forbindelse med markeringen av grunnlovsjubileet. Museum Stavanger ble konsolidert i 2010 og har siden den gang bestått av fem fagavdelinger og fire ulike fagtradisjoner: kunst, kulturhistorie, naturhistorie og sjøfart og industri. I anledning Hvem eier historien inviterte Museum Stavanger inn 8 lokalt tilknyttende kunstnere med fri tilgang til museets samlinger i det de skulle se naermere på hvordan museet fungerer og hvordan institusjonen forteller historier. Dette var Museum Stavangers første anledning til et så omfattende tverrfaglig samarbeid etter konsolideringen. Utfordringene viser seg således å vaere mange da fagtradisjonene har helt ulike utgangspunkt og ståsteder. Saerskilt ser man forskjellene mellom den kunstfaglige tradisjon og de andre fagtradisjonene på Museum Stavanger. Ulikhetene kommer spesielt til syne i møtet mellom fagavdelingene og kunstnerne. Dette møtet viser seg å manifestere et forhandlingsaspekt som strekker seg langt utenfor Museum Stavangers rammer. Denne studien undersøker hvordan Museum Stavanger som konsolidert institusjon benytter seg av kunstneriske intervensjoner. Studiens utgangspunkt og case er prosjektet og utstillingen Hvem eier historien? Makt, kunst og demokrati. Studien baserer seg videre på å undersøke hvordan bruken av kunstneriske intervensjoner i et større perspektiv omhandler forhandlinger av museenes autoritet. Det viser seg at Museum Stavanger bruker kunstneriske intervensjoner som et selvrefleksivt verktøy i møte med kunstnerne og det er i dette møtet forhandlingene av museenes autoritet skjer. Fagavdelingene blir i møte med kunstnerne satt i en posisjon hvor de må se på seg selv med nye øyne og revurdere sin egen autoritet som forvaltere og formidlere av vår kulturarv. VI VII VIII Forord Her er det mange som skal takkes. Først og fremst vil jeg rette en stor takk til min flotte veileder Line Esborg. Du har vaert gull verdt! Jeg vil også takke Lise Camilla Ruud fra Kulturrådet som satte meg på sporet av tema for oppgaven. Videre vil jeg takke Milena Høgsberg for uvurderlig veiledning da jeg slet med å finne min stemme i oppstartfasen. Jeg vil selvfølgelig gi en stor takk til informantene mine. Uten dere hadde faktisk ikke denne oppgaven vaert mulig. Mamma og pappa må også få en stor takk da de har vaert mine største supportere og heiagjeng. Bedre foreldre skal man lete lenge etter! Takk til lillesøster Matilde for deilige, fjollete avbrekk fra skrivingen. Det trengte jeg! Takk til verdens beste kjaereste og samboer Magnus for støtte, tålmodighet, kjaerlighet og omsorg gjennom denne prosessen. Bare det at du er deg er nok for meg. Tusen takk til Kristine og Tina for god hjelp, støtte og oppmuntring i innspurten. Takk til Flavio for god hjelp helt i siste liten. Tenk at du satte av tid til en tidligere elev midt i den travleste tiden, det setter jeg utrolig stor pris på. Og en stor takk til alle som har hatt «trua på meg», saerlig når jeg selv ikke har hatt det. Det er dere som har dratt meg gjennom dette. IX X 24

Isolated Amazonian peoples such as the Urarina in Peru remain atrisk of cultural and biological extinction from industrial exploitation and imported diseases. In the last seven years, many Urarina have died in epidemics of measles, cholera, pertussis, and malaria. The Peruvian government has encouraged oil exploration and logging in the Amazon without regard to Urarina rights, and the international treatypromotingindigenous rights that Peru ratified is not enforced. There are, however, two promising developments for indigenous survival. The first is the growing realization of biologists, ecologists, sociologists, and conservationists that conservation of biodiversity and global environmental protection are interconnected with indigenous rights. Secondly, the two declarations on the rights of indigenous peoples proposed by the Organization of American States and the United Nations are more specifically protective of indigenous rights than previous manifestos have been.

Apresento neste trabalho um recorte da pesquisa em nível de doutoramento vinculada ao  Programa de Pós-Graduação em Estudos Linguísticos da Universidade Federal da Fronteira Sul,
Campus Chapecó.SC que tem como tema o discurso do sujeito-professor de língua portuguesa sobre o seu fazer profissional-pedagógico durante o acontecimento da pandemia de Covid-19. Pauto-me
em uma abordagem predominantemente vinda da Análise de Discurso materialista, em aproximação com a perspectiva discursivo-desconstrutivista.

The introduction addresses the broader context of the research topic, presents the state of the art and outlines the objectives and sources of the special issue. Its articles examine literary, artistic and scientific representations of race and the Other, analysing the way Central and Eastern European societies have adopted, adapted or subverted colonial ideas. As a whole, the volume offers interdisciplinary insights into how imagery of blackness and colonial fantasies shaped identities in Central and Eastern Europe, revealing the complexities of modernity, colonialism and racial constructs.

Dan Hicks and Rebekka Ladewig 2025. Tacit Archaeology: Legacy Colonialism, Implicit Knowing, Cultural Techniques, and Slow Inheritance.
A. Natif and G.M. Lucas (eds) Shadow Archaeologies: in the Shadow of Antiquity or For Other Modes of Archaeological Worldmaking. London: Routledge, pp. 58-72

Frankfurter Allgemeine Sonntagszeitung, 13.4.2025 // In einem der Säle von „Music of the Mind“, der umfassenden Ausstellung, die sich im Berliner Gropius Bau gerade dem künstlerischen Schaffen der japanisch-US-amerikanischen Multimedia-Künstlerin, Musikerin, Komponistin und Friedensaktivistin Yoko Ono widmet, befinden sich drei besondere Kunstwerke.

Das erste heißt „White Chess Set“, ausgestellt wurde es erstmals 1966. Ein Schachspielbrett, auf dem alle Feldern und Figuren weiß sind, ermuntert die Zuschauer dazu, zu spielen, „solange du dich daran erinnern kannst, wo alle deine Figuren sind“. Je länger gespielt wird, desto schwieriger wird es, zu wissen, welche Figuren dem einen und welche dem anderen Spieler gehören. An diesem Punkt können die Teilnehmer aufhören zu spielen oder gemeinsam neue Spielregeln entwickeln. Beim zweiten Werk, „Helmets (Pieces of Sky)“ vom Jahr 2001, hängen von der Museumsdecke mehrere Helme – Nachbildungen jener, die die Wehrmachtssoldaten im Zweiten Weltkrieg trugen. Jeder Helm ist mit kleinen Puzzleteilen gefüllt. Würde man es schaffen, alle Puzzleteile zusammenzusetzen – eine äußerst anstrengende doch im Prinzip mögliche Aufgabe –, würde das Bild eines ruhigen blauen Himmels mit weißen Wolken entstehen. Und in „A Hole“ (2009) liest man auf einer Glasscheibe mit Einschussloch folgende Anweisung: „Geh auf die andere Seite der Scheibe und schau durch das Loch.“ Wer auf der einen Seite der Glasplatte steht, nimmt die Perspektive desjenigen an, auf den geschossen wurde. Wechselt man die Seite, besetzt man die Position des Schützen. Und das Einschussloch selbst, ein Symbol der Gewalt, wird durch den Seitenwechsel zu einer Art Schlüsselloch, durch das man in den freien Raum gucken kann.

In diesen so schlichten wie beeindruckenden Werken laufen zwei konzeptionelle Leitlinien zusammen, die sich, wie die chronologisch geordnete Berliner Schau zeigt, durch Yoko Onos jahrzehntelange künstlerische Tätigkeit ziehen. Das sind einerseits die Konzipierung von Kunstwerken, die teilweise oder ausschließlich aus „Instructions“ – Anleitungen, Anweisungen – an das Publikum bestehen. So entstehen Onos Kunstwerke genau genommen erst durch die Kooperation der Zuschauer.

Diese Arbeitsweise machten in den sechziger Jahren sogenannte Konzeptkünstler wie die US-Amerikaner Sol LeWitt, Joseph Kosuth oder Lawrence Weiner berühmt. Sie wollten zeigen, dass auch eine Idee, ein Plan, ein mentales Experiment, Kunst sein kann – und dementsprechend die Ausführung eines Kunstwerks nicht durch den Künstler selbst erfolgen muss. Yoko Ono hatte allerdings die „Instructions“ bereits 1955 in „Lighting Piece“ eingesetzt, ihrem ersten bekannten Werk, in dem sie den Betrachter dazu einlädt, ein Streichholz anzuzünden und zu „schauen, bis es ausgeht“. [...]

FATA B UREN Nordiska museets och Skansens årsbok är en skatt av kulturhistoriska artiklar som publicerats under mer än ett sekel. Årsboken började som ett häfte med rubriken »Meddelanden», redigerat 1881 av museets grundare Artur Hazeliusför den stödjan de krets som kallades Samfundet för Nordiska museets främjande. 1884 publicerades den första kulturhistoriska artikeln och när publikationen 1906 bytte namn till »Fataburen. Kulturhistorisk tidskrift» kom de vetenskapliga uppsatserna att dominera innehållet. Från och med 1931 fick årsboken Fataburen en mer populär inriktning och i stora drag den form som den har i dag. Fataburen har sedan dess förenat lärdom och sakkunskap med syftet att nå en stor publik. Fataburen är också en viktig länk mellan Nordiska museet och Skansen, två museer med en gemensam historia och en gemensam vänförening. Varje årsbok har ett tematiskt innehåll som speglar insatser och engagemang i de båda museerna, men verksamhets berättelserna trycks numera separat och kan rekvireras från respek tive museum. Ekonomiskt stöd från Nordiska museets och Skansens Vänner gör utgivningen av Fataburen möjlig.

One of the most useful tools in the propaganda campaign against teaching evolution science has been a miniature comic book, a little twelve-page tract entitled BIG DADDY? This travesty of science was first published in 1972 by Fundamentalist cartoonist Jack T. Chick (1924-2016). Frequently updated in order to deal with new discoveries in science, the unfunny comic book is still available for purchase at 20 copies for $5.00. In my teaching of college biology during the '70s of the last century I used the tract to teach evolutionary biology by identifying the fallacies of fact and logic in the text and exposing the subtle persuasive techniques of the artist. This two-part deconstruction of the tract summarizes the illustrated lectures I delivered to my college classes. It shows how Chick plagiarized F. Clark Howell's EARLY MAN (Time/Life, 1965/67) without attribution and wildly misrepresented the evidence and claims of Howell's book.
The plot of the tract begins with a buffoon of a biology professor asking his class “How many of you believe in evolution?” Thunderously, all but one of the students reply, “We do!” The lone student (apparently modeled after Pat Boone) says he believes in the Bible instead. The professor blows his top, threatens to throw the kid out, but relents, saying he will systematically tear the hero’s “little beliefs to shreds in front of the entire class.” As might be predicted, the student appears to know more biology than the professor and comes up with what appear to be unanswerable arguments against evolution. The professor gives up, quits his job, and the student converts the class to Fundamentalism.