This is the first full-length study of literary tourism in North America as well as Britain, and a unique exploration of popular response to writers, literary house museums, and the landscapes or "countries " associated with their lives and works. An interdisciplinary study ranging from 1820-1940, Homes and Haunts: Touring Writers' Shrines and Countries unites museum and tourism studies, book history, narrative theory, theories of gender, space, and things, and other approaches to depict and interpret the haunting experiences of exhibited houses and the curious history of topo-biographical writing about famous authors. In illustrated chapters that blend Victorian and recent first-person encounters that range from literary shrines and plaques to guidebooks, memoirs, portraits, and monuments, Alison Booth discusses pilgrims such as William and Mary Howitt, Anna Maria and Samuel Hall, and Elbert Hubbard, and magnetic hosts and guests as Washington Irving, Wordsworth, Martineau, Longfellow, Hawthorne, James, and Dickens. Virginia Woolf's feminist response to homes and haunts shapes a chapter on Mary Russell Mitford, Gaskell, and the Brontes, and another on the Carlyles' house and Monk's House. Booth rediscovers collections of personalities, haunted shrines, and imaginative re-enactments that have been submerged by a century of academic literary criticism.

This book introduces important reflections on understanding the meaning of cultural-religious heritage in an international context and their relationship with issues of sustainability at the local community level. Through a holistic approach, the book charts new courses in analyzing different cultural policies and methods for preserving and enhancing cultural heritage. Stemming from an intercultural seminar promoted by the International Scientific Committee Places of Religion and Ritual (ICOMOS PRERICO) under the theme of "Reuse and regenerations of cultural-religious heritage in the world: Comparison among cultures," the book examines the scientific diplomacy and cultural strategies promoted by countries in dialogue with the UN 2030 Agenda, as well as Agenda 21 for Culture. The book seeks to reinforce the value of local cultural policies for supporting and enhancing cultural-religious heritage through specific programs and collaborations in dialogue with government policies. This collection is relevant to scholars working in areas relating to cultural heritage, religious heritage, architectural restoration, protection of the local inheritances, law, and management of the cultural sites.

The book utilises the Five Ways to Well-being as a model: Connect, Be Active, Keep Learning, Give, Take Notice. Each of these Ways are explored through a specific museum object illustrating the important role collections can play in museum well-being. The book considers how museum well-being, and the austerity project became entwined, and how the COVID-19 pandemic supercharged growth in this field. The book explores such diverse topics as walking, slow art, social capital, Virginia Woolf, body positivity, collective joy, identity, art therapy, yoga, Squid Game, Effective Altruism, mindfulness, gift exchange, the Preston model, the limits of data, sketching, photography, inclusive spaces, and workplace well-being. The book signposts a vast array of existing information, and offers a critical engagement with current practices. Museums and Well-being is aimed initially to students of museum studies programmes, it is also an ideal book for a museum staff who needs to add a well-being component to their existing programming; or to reconsider existing programming from the perspective of well-being.

Families are a critical audience for art museums and museums use many different strategies for reaching families, such as special family days and festivals, workshops, special tours, family backpacks and gallery guides, in-gallery materials or demonstration carts, and specific family galleries. Here is a practical guide based on research that helps art museum educators understand the role and value of spaces designed for families and helps them to create dedicated spaces for intergenerational play and learning. This book features insights, best practices, and lessons learned from years of experience in creating dedicated spaces for families in a wide range of art museums. Through case studies, in-depth stories, and engaging graphics and images this book identifies key issues that museum professionals need to consider when developing family spaces in museums. This book is a how-to guide to creating or updating an interactive family space. Everything you need to know, soup to nuts, from understanding your audience to hiring a designer and opening your doors to the public is here. Each section is situated within groundbreaking visitor research findings and how museum educators have used those findings to better understand the family audience and develop fun, safe, inclusive, spaces that inspire wonder and curiosity, as well as places for meaning-making and family bonding, all in the service of creating loyal and committed museum visitors.

With chapters written by a diverse set of practitioners from across the museum field and around the world, Storytelling in Museums explores the efficacy and ethics of storytelling in museums. The book shows how museums use personal, local, and specific stories to make visitors feel welcome while inspiring them to engage with new ideas and unfamiliar situations. At the same time, the book explores the responsibilities of museum practitioners toward the storytellers included in their narratives and how those responsibilities shift over time and manifest in different contexts. The book's eighteen chapters represent a conversation among a diverse set of professionals for whom storytelling connotes their daily museum practice. As educators, collectors, curators, designers, marketers, researchers, planners, and collaborators, the authors of this book consider the "real work" of storytelling from every angle. From the inclusion of personal stories in educational programs to the meta-narratives on display in exhibitions, this book balances practical examples with ethical considerations, placing the praxis of storytelling within the larger context of the 21st century museum. The book moves beyond advocacy for storytelling as an essential part of the museum's toolkit to explore the many ways in which museums use personal stories, and multiple storytelling techniques, to support the larger public narratives embedded in their missions. The contributors demonstrate how museums that emphasize storytelling from multiple angles can serve as a kind of counterpoint to our tendency to fixate on singular images of things we know little about. They encourage museums to both acknowledge that they cannot control the narrative and to embrace their power to contribute to it through the multivalent, multivocal stories they choose to share.

Notions of authenticity lie at the heart of many questions about heritage and identity in the built environment. These questions are most pertinent when buildings have been destroyed in disaster or war, and the built fabric is being reconstructed to reinstate traditional or historic appearances in place of what was lost. Authentic Reconstruction examines this idea of reconstruction, using it as a prompt to examine a range of deeper issues on heritage and the built environment. From post-WWII reconstruction programmes through to the rebuilding of historic cultural landscapes lost in natural disasters, this collection of essays by heritage specialists provides a wide range of case-studies and discussions. Each presents responses to crises and lessons learned, in order to extrapolate general guidelines for future actions by politicians, architects and planners in reconstructing buildings. The book also looks beyond disaster and war, noting how authenticity bears on political intentions and image building, exploring how reconstruction is used to tell a political or historical story, so conditioning the ways in which the built environment is perceived and appreciated by its users. This is not just about the buildings as bricks and mortar, but about perceptions of identity and the social and historical values which buildings and spaces embody for a richly diverse population. This book will be valuable to all who are concerned with heritage as practitioners or consumers, particularly those concerned with reconstruction and the creation of authentic places and experiences: architects, architectural historians, town planners, preservationists, conservationists, and those involved in heritage management and material culture.

Rethinking Research in the Art Museum presents an original and radical perspective on how research can function as an agent of change in art museums today. The book analyses a range of art organisations and draws on numerous interviews with museum professionals to outline the limitations of existing models of museum research. Arguing for a more democratic formulation in tune with the current needs and ambitions of the art institution, Emily Pringle puts forward a framework for practitioner-led, co-produced research that redefines how knowledge is created in the museum. Recognising that museums today negotiate multiple agendas, the book outlines the value of constructing the art museum professional as a practitioner researcher and their work as a mode of practice-based research, be they educators, archivists, curators or conservators. Locating these arguments within the framework of new museology, critical pedagogy, professional and organisational studies and epistemology, the book offers insights and guidance for those interested in how art museums function and the role research plays within these complex institutions. Rethinking Research in the Art Museum provides a timely and important resource for museum professionals and scholars, students, artists and community members. It should be of particular interest to those invested in exploring how art museums can continue to make the most of their unique resources, whilst becoming more collaborative, inclusive and relevant to the twenty-first century.

If food is nourishment to a person, money is sustenance for most nonprofit organizations. Yet many small organizations rely on one-off efforts and get-rich events in place of real fundraising strategies. Just because an organization is small, or volunteer-run, or located in a rural area, does not mean its leaders can't professionalize their fundraising, establish effective processes, and build genuine relationships that will lead to the ultimate goal: people giving to people. Beyond the Bake Sale: Fundraising for Local History Organizations meets organizations where they are, cutting through all of the assumptions and mumbo-jumbo, taking professional fundraising strategies and scaling them to an accessible level. Designed specifically for small cultural heritage organizations, this book is written with their unique challenges in mind. From caring for objects-based collections to succeeding with minimal (or no) permanent staff to grant writing for those who've never written grants, this book is for local history organization leaders doing critical work to care for our shared history. Complete with explanations, examples, and thought-provoking questions, this book challenges local history leaders to brainstorm, communicate, experiment, and plan. Blank worksheets encourage readers to put ideas down in writing and establish processes to build upon. Whether read cover to cover or used as a reference text for specific topics, users will find material that begins with a broad overview before narrowing to focus on tips and tactics that will help grassroots fundraisers feel more comfortable, confident and confident in their efforts. Above all else, this book is grounded in the idea that fundraising is an intentional, people-focused process built on genuine, personal relationships. This philosophy should be as accessible to leaders at small cultural heritage organizations as to anyone else doing important nonprofit work in their communities.

This book examines the practice of community engagement in museums through the notion of care. It focuses on building an understanding of the logic of care that underpins this practice, with a view to outlining new roles for museums within community health and social care. This book engages with the recent growing focus on community participation in museum activities, notably in the area of health and wellbeing. It explores this theme through an analysis of the practices of community engagement workers at Tyne & Wear Archives & Museums in the UK. It examines how this work is operationalised and valued in the museum, and the institutional barriers to this practice. It presents the practices of care that shape community-led exhibitions, and community engagement projects involving health and social care partners and their clients. Drawing on the ethics of care and geographies of care literatures, this text provides readers with novel perspectives for transforming the museum into a space of social care. This book will appeal to museum studies scholars and professionals, geographers, organisational studies scholars, as well as students interested in the social role of museums.

"Inclusion" is a word, a concept, a value, a set of practices, but what should it mean for museum staff and leaders as they envision new ways of being a museum in an emergent future? Political and environmental upheavals, and now a global pandemic, are transforming the museum landscape forever. How can our paradigm for understanding inclusion continue to transform as well? This book offers a new paradigm for understanding inclusion grounded in a retrospective of museum worker efforts to test the limits of inclusion, a reflection on inclusion's advantages and limitations in practice, as well as the integral concerns of racial equity and social justice. Questions throughout the book invite readers to reflect on how their own experiences can add to, and expand on, new ways of thinking about inclusion in museums. Museum workers and lovers can use this book as a tool for engaging with "inclusion" anew, and as a terrain for collaborative inquiry and world-building that can help us imagine and realize new potential for museums in the future.

Equal parts autobiography, cautionary tale, and actionable recommendations, this book is as candid and vulnerable as the author insists all seekers of justice be when they embark on a full-scale DEAI initiative anchored in anti-oppression. Since the beginning of her professional museum journey, Cecile Shellman--like many who have been marginalized by systems ill-prepared to support them--has had to engage in cultural realms in which she was not fully represented and where she was sometimes misrepresented or understood. It's difficult being the "only one in the room," while trying to build relations and succeed in your chosen career. Ms. Shellman shares personal relatable stories that explain how harmful inattention to Diversity, Equity, Accessibility, and Inclusion can be to individuals and to the group dynamic. This rare peek behind the curtain of museum culture leaves no holds barred. The telling is done in an entirely approachable, if humbling way. Poignant illustrations and vivid verbal descriptions are designed to take you further into the author's experience as well as providing moments of reflection and humor. Tales from the field--anonymized stories describing microagressions, discrimination, barriers, and roadblocks in the field--are accompanied by questions to spark dialogue and engender empathetic responses. These anecdotes refer to those who share the author's identity and circumstance as well as those who don't. As with all stories, lessons and messages about culture and patterns are told as a point of caution. What might you do if you were participants in these events? How can you build your emotional intelligence to a desired level for your current museum and personal needs? Finally, there are calls to action at the personal, interpersonal, organizational, and systemic levels. True transformation requires complete reassessment of norms bolstered by a broken society. This book provides strategies for implementing change.

This book is a compilation of case studies and analyses that can be used as a resource guide for college and university professors of foreign language and academic museum educators collaborating to develop new pedagogical approaches to teaching foreign language with and through objects in the academic museum. As institutions of higher education respond to the needs of an increasingly global and interconnected world, their educational missions prioritize learning in areas such as interdisciplinary thinking, collaboration, intercultural competency, and global citizenship. Academic museums are uniquely poised to facilitate learning experiences in these areas, providing institutions with an essential platform for realizing their larger mission.

This book addresses the application of computing to cultural heritage and the discipline of Digital Humanities that formed around it. Digital Humanities research is transforming how the Human record can be transmitted, shaped, understood, questioned and imagined and it has been ongoing for more than 70 years. However, we have no comprehensive histories of its research trajectory or its disciplinary development. The authors make a first contribution towards remedying this by uncovering, documenting, and analysing a number of the social, intellectual and creative processes that helped to shape this research from the 1950s until the present day. By taking an oral history approach, this book explores questions like, among others, researchers' earliest memories of encountering computers and the factors that subsequently prompted them to use the computer in Humanities research. Computation and the Humanities will be an essential read for cultural and computing historians, digital humanists and those interested in developments like the digitisation of cultural heritage and artefacts. This book is open access under a CC BY-NC 2.5 license

Making Dinosaurs Dance: A Toolkit for Digital Design in Museums takes the reader behind the scenes to learn how the American Museum of Natural History innovates visitor digital engagement, highlighting design techniques used both there and at museums around the world. Based on the author's six years at the landmark institution that inspired the Night at the Museum franchise, the book introduces The Six Tools of Digital Design - user research, rapid prototyping, public piloting, iterative design, youth collaboration, and teaming up - then applies them through case studies across a range of topics: Combining digital experience design with physical museum assets in a guided format, featuring Crime Scene Neanderthal (CSN), a youth co-designed and facilitated in-Hall experience that invited museum visitors to use a mobile app and other tools to investigate a science-based mystery. Game-based learning, featuring three case: a tabletop games (Pterosaurs: The Card Game), mobile games (Playing with Dinos), and commercial off-the-shelf games (Minecraft). Mobile augmented reality games, featuring MicroRangers, which used AR to invite visitors to shrink to microscopic size and explore the Museum to combat threats to global biodiversity. XR experience design, featuring case studies about 360 videos on paleontology and virtual reality projects about ocean life. Science visualizations, featuring Galactic Golf, an astro-visualization that addressed the topics of mass and gravity through a round of mixed reality Martian golf; interactive science visualizations that invited visitors to hold CT-scans of bat skulls in their hand; and Finding Flamingos, a youth program focused on how Conservation Biologists protect endangered flamingos through GIS mapping and predictions software. In addition, the book explores related topics at institutions in Greece and France, and from Washington, D.C. to California.

The name "Historical Society" or "Historic House" has a bad rap. Before potential visitors even know your museum, they may assume it's not for them, even if you lead progressive, inclusive tours and host innovative programs. If you're part of the leadership team of a historic house museum or historical society, you may have considered rebranding -- either renaming your organization or developing a new look - to be more appealing to a younger, more diverse audience or to reflect changes to your mission, interpretation, site, etc. Using examples from museums of all sizes across the country, this book helps you decide whether to move forward with a rebranding effort and give you a concrete outline to work from. The book will help you: -Decide if you should rebrand (and that you're not just putting lipstick on a pig) -Nitty-gritty details about how to go about it -How to react when someone says you're making a huge mistake -How much it will cost and where you can cut corners -How to evaluate what you've done. Rebranding: A Guide for Historic Houses, Museums, Sites and Organizations is a step-by-step guide that helps Executive Directors, Board members, and staff at history organizations decide if it's time to rebrand and, if so, how to go about it. The book will guide readers through the process of deciding if a rebranding is in order, testing ideas, developing a plan and budget, implementing the launch, and even handling naysayers. It's an essential guide for anyone rebranding a history organization.

A engaging history of the British Science Museum, produced to mark the centenary of its separation from the Victoria & Albert Museum in 1909. Rather than simply a narrative history, it uses the key themes of the Science Museums evolution to explore major issues and tensions common to the development of all science and technology museums.

Through an innovative approach that combines years of ethnographic research with British imperial archival sources, this book reveals how cultural heritage has been negotiated by colonial, independent state, and community actors in Belize from the late nineteenth century to the present. Alicia McGill explores the heritage of two African-descendant Kriol communities as seen in the contexts of archaeology and formal education. McGill demonstrates that in both spheres, Belizean institutions have constructed and used heritage places and ideologies to manage difference, govern subjects and citizens, and reinforce development agendas. In the communities studied here, ancient Maya cities and legacies have been prized while Kriol histories have been marginalized and racial and ethnic inequalities have endured. Yet McGill shows that at the same time, Belizean teachers and children resist, maintaining their Kriol identity through storytelling, subsistence practices, and other engagements with ecological resources. They also creatively identify connections between themselves and the ancient cultures that once lived in their regions. Exploring heritage as a social construct, McGill provides examples of the many ways people construct values, meanings, and customs related to it. Negotiating Heritage through Education and Archaeology is a richly informed study that emphasizes the importance of community-based engagement in public history and heritage studies. A volume in the series Cultural Heritage Studies, edited by Paul A. Shackel

Richard Bradley investigates the idea of circular buildings - whether houses or public architecture - which, though unfamiliar in the modern West, were a feature of many parts of prehistoric Europe. Why did so many people build circular monuments? Why did they choose to live in circular houses, when other communities rejected them? Why was it that those who preferred to inhabit a world of rectangular dwellings often buried their dead in round mounds and worshipped their gods in circular temples? Why did people who lived in roundhouses decorate their pottery and metalwork with rectilinear motifs, and why was it that the inhabitants of longhouses placed so much emphasis on curvilinear designs? Although their distinctive character has engaged the interest of alternative archaeologists, the significance of circular structures has rarely been discussed in a rigorous manner. The Idea of Order uses archaeological evidence, combined with insights from anthropology, to investigate the creation, use, and ultimate demise of circular architecture in prehistoric Europe. Concerned mainly with the prehistoric period from the origins of farming to the early first millennium AD, but extending to the medieval period, the volume considers the role of circular features from Turkey to the Iberian Peninsula and from Sardinia through Central Europe to Sweden. It places emphasis on the Western Mediterranean and the Atlantic coastline, where circular dwellings were particularly important, and discusses the significance of prehistoric enclosures, fortifications, and burial mounds in regions where longhouse structures were dominant.

How to Close a Museum: A Practical Guide answers your questions about closing a museum. Even if you are just considering your options during difficult times and planning for your future, this book takes you through all the legal, ethical, and operational questions to start thinking about. It clearly lays out all the steps to follow to dissolve the nonprofit corporation, how to work with the board, disperse assets, create a final staffing plan, media relations, archival materials, community relations, and how to deal with donors and preserve the legacy of the organization. Included in the book are valuable forms, creative ideas, and sample documents to save you time. Written by Dr. Susana Bautista, an experienced museum administrator, curator, and museologist, who personally went though this process of closing a museum as the last executive director of the Pasadena Museum of California Art in 2018. She will recount her experiences and lessons learned, as well as those of other museum leaders who have gone through similar experiences, so that all museum professionals will be better prepared for what is always a stressful and emotional experience.

Including previously unpublished and recently re-discovered designs for the interior of the Museum, Olivia Horsfall Turner's fascinating new book, the latest in the V&A 19th-Century Series, looks at the relationship between architect and designer Owen Jones and the South Kensington Museum (later the V&A) in the period from the Museum's establishment in the 1850s to Jones's death in 1874. It focuses on key moments in Jones's relationship with the Museum: the creation of his well-known publication The Grammar of Ornament (1856) and his less widely known Examples of Chinese Ornament (1867), and the decoration of the Museum's so-called Oriental Court between 1863 and 1865. Jones's collaboration with the Museum over a period of almost 20 years is of special interest not only thanks to his status as one of the most influential design theorists of the 19th century, but also for the light that it sheds on the identity of the early Museum and its imperial context.

Drawing on primary and secondary materials, this is a sociological interpretation of the rise of metropolitan art institutions and their role in modernism and the modernization of art in England. It explores the complex relationships between the artist as creator, notions of class and taste, and the power of institutions (academies, museums, workshops, exhibitions, art dealers and publishing houses) to enable or constrain creativity, and to reflect and shape artistic expression. In particular, it looks at the experiences of submerged artists (for example, reproductive engravers and the Chantrey artists) and their interpretations of the changing art world. The radicalism of engravers and their claim to be artists is an important and neglected aspect of the 19th-century art world; and the aesthetic dispute over the Chantrey Bequest epitomized conflicts of taste, cultural dependence and interdependence between opposed art institutions and the Treasury.

Reinventing the Museum: Relevance, Inclusion and Global Responsibilities is the third edition following the 2004 and 2012 versions of the Reinventing series. More than a decade since the prior volume, this edition features all new content written since 2017 germane to this pivotal time for museums and the world. The book illuminates the complex external realities and shifts impacting museums, to spur and initiate relevant transformation in order to help define museum's most impactful role in the ecosystem of their diverse communities at the local, regional and global levels. The urgency for meaningful change is key for museums to emerge as central, more vital contributors in a world that requires new visionary leaders with strategies to make a difference. The anthology features leading thinkers from across the globe each probing a thread or topic that creates a look into the origins, realities and pressures marking this pivotal time for museums. The introduction frames the book, highlights the issues of our times and the structure of the articles compiled and sequential flow of the contents. Setting the stage for the book is an update to the Reinventing the Museum Tool. Five sections feature carefully selected articles that create a flow of topics and greater understanding of the issues of our times. Each section unfolds with a sequence of thinking that leads into the subsequent sections and chapters. From highlights of the realities from a global perspective to shifts in institutional mindset to the urgency to achieve inclusion and equity holistically in museums to fresh perspectives of practical approaches to actualize the reinvented museum - the range of topics unfolds an informed path forward. Whether a student, trustee, or staff member this volume is inspiring, informative, fresh, and a must read for any aspiring or active museum professional.

This book offers a comprehensive account of the audiovisual translation (AVT) of humour, bringing together insights from translation studies and humour studies to outline the key theories underpinning this growing area of study and their applications to case studies from television and film. The volume outlines the ways in which the myriad linguistic manifestations and functions of humour make it difficult for scholars to provide a unified definition for it, an issue made more complex in the transfer of humour to audiovisual works and their translations as well as their ongoing changes in technology. Dore brings together relevant theories from both translation studies and humour studies toward advancing research in both disciplines. Each chapter explores a key dimension of humour as it unfolds in AVT, offering brief theoretical discussions of wordplay, culture-specific references, and captioning in AVT as applied to case studies from Modern Family. A dedicated chapter to audio description, which allows the visually impaired or blind to assess a film's non-verbal content, using examples from the 2017 film the Big Sick, outlines existing research to date on this under-explored line of research and opens avenues for future study within the audiovisual translation of humour. This book is key reading for students and scholars in translation studies and humour studies.