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Art Collection (art + collection)
Selected AbstractsDrawing on Identity: Inkameep Day School and Art CollectionMUSEUM ANTHROPOLOGY, Issue 1 2006AMBER RIDINGTON Drawing on Identity: Inkameep Day School and Art Collection. An online exhibition of the Osoyoos Museum and the Virtual Museum of Canada. Amberridington [source] The Marriage of Artist Novel and Bildungsroman: Goethe's Wilhelm Meister, A Paradigm in DisguiseGERMAN LIFE AND LETTERS, Issue 1 2006Hellmut Ammerlahn Goethe described the fruitful years from 1794, when he found Schiller's friendship and completed Wilhelm Meisters Lehrjahre, in metaphors of creativity, insight and abundance: ,ein neuer Frühling' and ,ein unaufhaltsames Fortschreiten philosophischer Ausbildung und ästhetischer Tätigkeit'. Yet since the mid-twentieth century what has been called Goethe's ,prototypischer Bildungsroman' and its central concept have come under attack. The more the novel's structure and the symbolism of the hero's relationships to all other characters were disregarded, the more Wilhelm's identity became ambiguous. Since the issue of genre is a major key to understanding the novel, Goethe's poetological and morphological principles are examined to make sense of the ,Masken' the author employs both to hide and to reveal Wilhelm's identity as a creative and self-reflexive poet. The first part of the ,Lehrbrief,' which deals with art and the artist as well as the mature Wilhelm's inheritance of his grandfather's art collection, receive focused attention. The hero's healing process from personal trauma, and his ultimate discovery of the solid foundation for his ,produktive Einbildungskraft' are tied to his poetic ,Doppelgänger', Mignon and the Harpist, and further to Shakespeare's Hamlet, the Tower, the picture of the sick prince, and to Natalie. The new interpretation of these interconnections reveals that with this novel Goethe produced nothing less than the paradigmatic ,Bildungsroman eines Dichters'. In the colourful figures that enter into or leave the hero's life, Goethe symbolises the increasingly demanding challenges his Wilhelm Meister has to confront and comprehend in order to master his vibrant imagination. [source] The Risk of Historical Artefacts in Travel: The Construction of Risk in the International Travelling ExhibitionJOURNAL OF HISTORICAL SOCIOLOGY, Issue 3 2006CHIA-LING LAI This follows the history of a controversial exhibition, the "Splendour of Imperial China", held in 1996 that travelled from the National Palace Museum in Taipei which is renowned for its abundant and unique Chinese art collection to one of the most prominent museums on the global stage , the Metropolitan Museum of Art in New York. Drawing upon Mary Douglas's analysis of danger/risk and classification, this paper argues that the risk within the "outbound" international travelling exhibition is less ontological than constructed. Often the controversy over the risk re-delineates the boundary between "us" and "them". This article, first of all, examines the power-laden relationship, regulated by the struggle of the global museum field, when museum experts at home and abroad co-write the risk of an exhibition's travel in the language of insurance calculation. Second, it analyses the laymen's protesting discourses against the historical artefacts' overseas travel through outbound international travelling exhibition. The protest which appropriated the "keeping-while-giving" logic of exchange, and backed up with both national sentiments and international symbolic sources, rendered the exhibition a hot potato. Finally, it interrogates how the settled outbound travelling exhibition actually renders the museum collection reclassified and revalorized according to their suitability for overseas travel. [source] | ||||||||||