What is the relationship today between museums, galleries and learning? The Responsive Museum interrogates the thinking, policies and practices that underpin the educational role of the museum. It unravels the complex relationship of museums with their publics, and discusses today's challenges and the debates that have resulted. The highly experienced team of writers, including museum educators and directors, share their different experiences and views, and review recent research and examples of best practice. They analyse the implications of audience development and broadening public access, particularly in relation to special groups, minority communities and disabled people, and for individual self-development and different learning styles; they explore issues of public accountability and funding; discuss the merits of different evaluation tools and methodologies for measuring audience impact and needs; and assess the role of architects, designers and artists in shaping the visitor experience. The latter part of this book reviews practical management and staffing issues, and training and skills needs for the future. This book is for students, museum staff, especially those involved in education and interpretation, and senior management and policy-makers. This is a much-needed review of the relationship between museums and galleries and their users. It also offers a wealth of information and expertise to guide future strategy and practice.

What is the relationship today between museums, galleries and learning? The Responsive Museum interrogates the thinking, policies and practices that underpin the educational role of the museum. It unravels the complex relationship of museums with their publics, and discusses today's challenges and the debates that have resulted. The highly experienced team of writers, including museum educators and directors, share their different experiences and views, and review recent research and examples of best practice. They analyse the implications of audience development and broadening public access, particularly in relation to special groups, minority communities and disabled people, and for individual self-development and different learning styles; they explore issues of public accountability and funding; discuss the merits of different evaluation tools and methodologies for measuring audience impact and needs; and assess the role of architects, designers and artists in shaping the visitor experience. The latter part of this book reviews practical management and staffing issues, and training and skills needs for the future. This book is for students, museum staff, especially those involved in education and interpretation, and senior management and policy-makers. This is a much-needed review of the relationship between museums and galleries and their users. It also offers a wealth of information and expertise to guide future strategy and practice.

Studienarbeit aus dem Jahr 2013 im Fachbereich Medien / Kommunikation - Film und Fernsehen, Note: 1,7, Universitat Rostock, Veranstaltung: Fernsehen als innovatives Erzahlmedium: US-amerikanische Drama Serien von Die Sopranos bis Mad Men, Sprache: Deutsch, Abstract: Die US-Fernsehserie LOST zahlt zu einer der erfolgreichsten Serien in den letzten Jahren, doch was war bzw. ist noch immer so faszinierend an dieser Serie, die weltweit grosse Erfolge feierte und uber 60 Auszeichnungen erhielt

Studienarbeit aus dem Jahr 2013 im Fachbereich Politik - Internationale Politik - Region: Afrika, einseitig bedruckt, Note: 1,0, Universitat Rostock, Sprache: Deutsch, Abstract: In den deutschen Medien, hort man selten etwas von Nigeria. Ab und zu ist die Rede von Anschlagen oder Entfuhrungen, doch auch diese Berichte sind eher selten in den grossen Zeitungen und Nachrichten zu finden. Gibt man jedoch beispielsweise bei Google News1 Nigeria in Verbindung mit Anschlagen, Tote oder Gewalt ein, kommt eine Vielzahl von Meldungen, sucht man dazu noch auf Englisch werden noch viele weitere Ergebnisse angezeigt. In Deutschland scheint also nur ein geringes Interesse an Nigeria zu bestehen, dabei ist es einer der grossten Ol-Exporteure der Welt und viele deutsche wie auch internationale Firmen sind in Nigeria ansassig und beuten das Land und die vorhandenen Rohstoffe au

Restitutions of high-priced artworks have given the public the impression that items stolen from Jewish citizens during the National Socialist era were almost exclusively works of art and objects of great value. The opposite is the case: Most of the possessions seized were things used in everyday life, including furniture, or simple household goods. They ended up not only in public authorities or museums, but also in private households. How should museums deal with objects that were - allegedly - once in the possession of Jewish individuals and that are now often off ered to them by descendants of the individuals who subsequently acquired them? Are the stories that have been handed down in the family true? Can they be verified?Should museums accept such historically charged objects at all?