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To this day, the alleged 'history problem'; the perception from other countries, mainly Asian neighbours, that Japan has not come to terms with its aggressive and militarist past, continues to weigh on the Land of the Rising Sun and shape its room for manoeuvre in foreign policy. Through an autoethnographic study of three Japanese war museums, this thesis argues for the importance of understanding the emotional roots of behaviour shaping both research in the field of International Relations, and developments in the international sphere. This study provides readers with a view into a deeply personal journey to three war museums in Japan, where such sites come to be understood as highly political and arguably influential in shaping the normative space within which legitimate foreign policy can be enacted. Through the emotional and affective sensibilities of the researcher, shaped by lived experience, this thesis presents an alternative to mainstream foreign policy analysis, as it highlights a bottom up approach exemplified by the analysis of Japans history problem. The thesis argues theoretically for understanding the foundational role of emotions in policy formulation through its role in the social construction of rationality and legitimacy. It concludes that although there are political reasons internationally for why the history problem persists, the main cause of its continuous relevance is based on the maintenance of post-war emotions domestically in Japan. ; Fritt Ord Foundation ; submittedVersion ; M-IR

The paths bringing us together -- Preparations for the visit -- Moments of encounter -- Why go there? An interlude / Ruth Gladstone-Davies -- Reflecting on the visit -- Maintaining relationships into the future -- Museums as they are, and museums as they might be -- Appendix : Conservation kits.

South Pacific Museums: Experiments in Culture is a collection of outstanding analyses of museums in the South Pacific, written by cultural, museum and architectural critics, and historians. A series of snapshots introduce the reader to key museums in the region and longer essays explore these museums in broad terms. Over the last 50 years, museums have been regarded by many scholars and cultural critics as archaic institutions far from the cutting edge of cultural innovation. This judgement is being proved wrong across the globe, with innovative museums staking out new territory. Nowhere is this more striking than in the South Pacific where new and redeveloped institutions have included the Museum of New Zealand Te Papa Tongarewa, the National Museum of Australia, the Melbourne Museum, the Australian Centre for the Moving Image, the Museum of Sydney, the Gab Titui Cultural Centre in the Torres Strait, the Auckland Museum, the Centre Culturel Tjibaou and the Vanuatu Cultural Centre. South Pacific Museums make sense of these museums as part of the complex field of heritage, where national economies meet global tourism, cities brand themselves, and indigeneity articulates with colonialism. The effect is one of cultural experimentation. Part One, 'New Museums', introduces three different museums in distinctive national contexts – Te Papa, the Centre Culturel Tjibaou and the National Museum of Australia. Essays in this part grapple with the role of these museums in the nation at particular historical moments under specific political pressures. Part Two, 'New Knowledges', documents practices and exhibitions at the point of tension between indigenous and non-indigenous interests in the museum. Part three, 'New Experiences', explores the ways in which museums in the South Pacific are producing that ineffable cultural phenomenon – experience.

Zakhor : the task of Holocaust remembrance, questions of representation, and the sacred -- An architecture of absence : Daniel Libeskind's Jewish Museum Berlin -- Architectures of redemption and experience : Yad Vashem and the U.S. Holocaust Memorial Museum -- The artful eye : learning to see and perceive otherwise inside museum exhibits -- "We are the last witnesses" : artifact, aura, and authenticity -- Refiguring the sacred : strategies of disfiguration in String, the Memorial to the Deportees, and Menora -- Rituals of remembrance in Jerusalem and Berlin : museum visiting as pilgrimage and performance

Das Humboldt Lab Dahlem (2012-2015) gilt als die "Probebühne" des Berliner Humboldt Forums. Transdisziplinäre Teams entwickelten hier innovative Präsentations- und Vermittlungsmodelle für ethnografische Sammlungen. Zeitgleich begann ein großer Szenografie-Dienstleister mit der Gestaltung der Museumsflächen als erlebnisorientierter Themenpark. Daraus erwachsen Fragen zur mehrdeutigen Rolle des Lab im Gestaltungsprozess des Humboldt Forums und der Einbeziehung zeitgenössischer Kunst. Johanna Di Blasi beleuchtet Folgen der wenig beachteten Tatsache, dass historisch belastete Sammlungen und ihre wissenschaftlichen Kurator_innen von zwei Seiten unter Druck geraten sind: durch postkoloniale Revisionen und durch den Machtzuwachs der Szenografie

[fr]En politique rien ne semble possible sans références culturelles, sans la mobilisation d'un imaginaire collectif. Avec la déclaration de nombreux Etats de leur caractère multiculturel au cours de la seconde moitié du XXe siècle, qui reconnurent l'existence de différences culturelles au sein de la Nation, conjointement à une vague de patrimonialisation de nouveaux référents communs « multiculturels », les musées intégrèrent progressivement ce discours au sein de leurs expositions et de leurs collections. Ce sera tout particulièrement le cas des musées ethnologiques des « Autres », créés en lien avec l'affirmation de la Modernité et donnant lieu à la consolidation de l'Anthropologie, la science de « l'Autre ». Alors que ce multiculturalisme fait partie d'un nouveau paradigme, inauguré au cours des années 1970, basé sur une perception culturalisante de la structuration des sociétés, ces musées, créés pour la plupart entre le dernier quart du XIXe siècle et le premier quart du XXe siècle, intégrèrent en effet plus que n'importe quels autres cette réflexion au sein de laquelle ils étaient censés jouer un rôle important au travers de la mise en place de nouvelles pratiques. Ainsi, alors qu'ils étaient plongés dans une profonde crise depuis les années 1960-1970, cette intégration du multiculturalisme engendra la rénovation de la plupart d'entre eux en Europe, entre les années 2000 et 2010, donnant lieu à d'immenses projets muséaux vantant la modernité des villes et pays les accueillant, ouverts sur le monde et ses différences culturelles. A partir d'une conception anthropologique de l'institution muséale en tant que lieu de diffusion de valeurs, symboliquement et culturellement construit et ayant des effets sociaux sur la conceptualisation du monde, cette thèse traite de l'intégration de ce multiculturalisme dans les musées ethnologiques et leur rénovation, fondamentalement européens, en se concentrant sur ses effets muséologiques et sur l'évolution des politiques de collections. Pour ce faire, elle se base sur une méthodologie classique issue des sciences humaines et sociales caractérisée par une double phase. La première est constituée d'une profonde recherche bibliographique, qui mit en place un quadruple cadre théorique comprenant l'analyse anthropologique de la représentation offerte par les musées (Stocking, Clifford, Bouquet, Ames, Jones, Kirshenblatt-Gimblett), l'analyse des liens existant entre les musées et les communautés (Simpson, Lavine et Karp, Dubuc et Turgeon, Peers), le rôle du musée dans la promotion du multiculturalisme (Clifford, Bennett, Watson) et, finalement, le rôle et le statut des collections (Hainard, Davallon). La deuxième phase de la méthodologie est composée d'une double phase de recherche de terrain empirique basée sur l'observation et sur une série d'entretiens, premièrement au cours de courtes visites d'exploration au sein d'un grand nombre de musées européens et, deuxièmement, lors d'un travail de terrain en profondeur mené dans trois institutions (le Musée des Tropiques d'Amsterdam, le Musée royal de l'Afrique centrale de Tervuren et le Musée des cultures du monde de Göteborg). Ces institutions, comprises comme microcosmes du panorama muséologique et muséographique mondial, sont en effet intégrées dans des territoires nationaux aux caractéristiques claires et différenciées, notamment en termes de réflexion multiculturelle, constituant de la sorte des terrains d'étude riches pour leur comparaison. Ainsi, cette double phase de recherche donna lieu à une série de considérations qui permettent de dresser un état des lieux du panorama ethnomuséologique actuel, déterminé par une nouvelle approche de la diversité culturelle mais également par une certaine hétérogénéité à l'heure d'intégrer cette réflexion. Cette thèse permet ainsi de déterminer les logiques de cette intégration, ses influences et ses modèles théoriques et muséaux, afin d'évaluer dans quelle mesure cette dernière s'assimile à la tradition historique de l'institution. Finalement, à partir de cette exploration, cette thèse permettra d'apporter une somme de considérations quant aux conséquences et aux limites de cette intégration du multiculturalisme, non seulement muséales mais également sociales en tant que paradigme d'analyse des sociétés et de modèle de gestion des différences qui leur sont inhérentes. ; [eng] In politics nothing seems possible without the mobilisation of a collective imagination. With the declaration of many countries of their multicultural character during the second half of the twentieth century, along with a wave of patrimonialization of new common multicultural referents, museums gradually integrated this discourse in their exhibitions and collections. This will especially be the case of the Ethnological Museums, created in the context of Modernity and resulting in the consolidation of Anthropology, the science of "the others". These museums integrated more than any other institutions that reflection in which they were supposed to play an important role through the implementation of new practices. As such, while they were plunged into a deep crisis in the years 1960-1970, this integration of multiculturalism in Europe begat the renovation of most of them between 2000 and 2010, through huge museum projects that aimed at boasting the modernity of cities and countries in which they were created, seen as open to the world and its cultural differences. From an anthropological conception of the museum as symbolically and culturally constructed having social effects on the conceptualization of the world, this thesis discusses the integration of multiculturalism in European ethnological museums focusing on its museological effects and on the development of their collections policies. This thesis is therefore based on a methodological approach composed of a double phase. The first consists of a deep bibliographic research, which established a quadruple theoretical framework while the second phase consists of a double empirical field research phase based on observation and a series of interviews, firstly in a large number of European museums and, secondly, an in- depth research in three national museums with clear and differentiated characteristics in terms of multicultural reflection.

As the competition between the museums increase, tools like digital marketing are used to attract the stakeholders and increase museum attendance. By their nature, museums cannot be managed like regular consumer or industrial brands but there are areas where strategic moves can be made such as social communication. An important tool in this area is the social media where different means exist including Facebook, Instagram, Twitter. Museums thrive to attract visitors and stay close to other stakeholders using social media. Playing a major role in tourism markets as well as cultural and educational areas, museums follow the developments in social media and adapt to changing environments. Different methods exist for the classification of museums and for this study institutional classification of museums, namely State versus Private museums were considered and compared. In Turkey, as Topkapı Museum is one of the most visited museums among state museums, whereas Sakıp Sabancı Museum is among the most visited private ones, Instagram pages of these museums were taken into consideration. This study analyzes @topkapi_sarayi and @sakipsabancimuzesi Instagram pages, compares them in terms of number of followers, posts, topics, views/likes, comments and other content. The analysis is made for the whole year 2021 coverage of each page. Content analysis technique has been applied as the research technique for the study. The data has been analysed and recorded between January 03, 2022 and January 20, 2022. As of the end of the recording period, Sakıp Sabancı Museum has approximately 196.000 followers versus Topkapı Museum has approximately 37.100 followers. The results indicate that Sakıp Sabancı Museum is much more active in terms of number of posts (337 versus 68 posts) and variety of topics shared (24 versus 8). Thus the result is reflected in the total number of Views/Likes/Comments; that is 570.855 Views/Likes and 2872 Comments for Sakıp Sabancı Museum and 137.052 Views/Likes and 674 Comments for Topkapı Museum. The study also points out some suggestions to improve Instagram Page quality, content and attract new followers for the museums. Keywords: Museum, Social media, Instagram, @topkapi_sarayi, @sakipsabancimuzesi

E-culture is the combination of Information and Communication Technologies (ICTs) with traditional culture. Cultural heritage reveals elements of the past, which renders the occupation with it by contemporary societies, an absolute necessity. This paper aims to present a thorough review of e-culture, its methods and its applications in recent years. First, it focuses on the alternative choice of creating virtual museums in order to improve traditional museums' services through an attractive way to the visitor. Moreover, it discusses the significance of cultural digitization analysing the methods of digitization for both monuments and objects. Finally, it mentions the potential of numerous existing guide applications, which can be installed on cell phones and whose aim is to facilitate the navigation of visitors at archaeological sites and museums, as well as the potential of robots, which guide visitors to museums in an interactive way.