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The changing role of migration museums in Australia
Andrea Witcomb

further two galleries called respectively Division and Dislocation: War, Depression and More War, and The Crest of the Wave: Immigration 1950s–1970s, which looked at the experiences of postwar migrants, changes to immigration legislation and the arrival of refugees from Indo-China and South America in the 1970s. To achieve their reinterpretation of conventional narratives and redraw the relationship between the history of colonisation, migration and our understanding of multiculturalism, however, there were a number of practical problems that the curators and their

in Curatopia
Bronwyn Labrum

place’,42 and would be thematic, rather than taking the form of a conventional, chronological narrative which ‘would be boring’.43 The pendulum had now swung the other way with a desire to be more comprehensive and chronological. Changes were also afoot with the Community Gallery adjoining Passports. In 2010, the first exhibit that was not defined in ethnic terms opened. The Mixing Room: Stories from Young Refugees in New Zealand features ‘stories of growing up in New Zealand by young people who have come here as refugees’. In the absence of any objects, curators

in Curatopia
The key role of the Italian antiquarian market in the inception of American Classical art collections during the late-nineteenth century
Francesca de Tomasi

Giuseppe Fiorelli had written in an official report on the service he directed: the foreigners themselves, who contend with us for possession of our objects, need an official seal that only the Government authority can give, which is fundamental to assess the scientific value of those objects (Fiorelli, 1885).2 Accordingly, Fiorelli continues, foreign museums could increase the value of their collections only by buying objects which had been studied in Italy. In this way already well documented archaeological finds would not be exported abroad as ‘refugees’, but as

in Communities and knowledge production in archaeology
Abstract only
Caroline Sturdy Colls
Kevin Simon Colls

Spaniards who would ultimately be transferred to Alderney were recruited from the Argèles refugee camp in southern France with the promise of well-paid work in the occupied zone and support for their families who remained in Spain. 25 They were then transferred to Brest where they undertook labour for the Germans and were housed in two camps in Saint-Pierre-Quilbignon. 26 Luc has shown that at least thirty-one Spaniards arrived in Alderney from Brest via Cherbourg on 22 February 1942. 27 Most of these men appear

in 'Adolf Island'
Open Access (free)
Jes Wienberg

professors, archaeologists, ciceroni , and antiquarians. (Marinetti 1973 (English): 21f) Progress was given metaphorical expression by Walter Benjamin. A refugee at the time, Benjamin described progress as a disastrous storm from Paradise, a storm that creates ruins. In his final essay, “Über den Begriff der Geschichte” (“Theses on the Philosophy of History”), he commented on a picture by the artist Paul Klee called “Angelus Novus”: Der Engel der Geschichte muß so aussehen. Er hat das Antlitz der Vergangenheit zugewendet. Wo eine Kette von Begebenheiten vor

in Heritopia
The politics of co-collecting
Sean Mallon

Case Study about Exhibition Development’. Tuhinga: Records of the Museum of Te Papa Tongarewa, 14 (2003), 61–75; S. Gibson, and S. Mallon, ‘Representing Community Exhibitions at the Museum of New Zealand Te Papa Tongarewa’, Tuhinga: Records of the Museum of Te Papa Tongarewa, 21 (2010), 43–58; S. Gibson, and S. Kindon, ‘The Mixing Room Project at Te Papa: Co-Creating the Museum with Refugee Background Youth in Aotearoa / New Zealand’. Tuhinga: Records of the Museum of Te Papa Tongarewa, 24 (2013), 65–83. 13 SWICH Co-Collecting Workshop. Research Center for Material

in Curatopia
The tower house complex and rural settlement
Victoria L. McAlister

well as smaller goods consumption. Smyth argues for a redistribution of the population in the later Middle Ages and early years of the early modern period, describing people moving from dispersed settlement to nucleated settlement around a tower house as ‘refugees’ (1985: 126). Presumably, the comparative security of the tower house was an attractive prospect and would explain the continuation of nucleated settlement after the demographic collapse of the Black Death, if the people previously living in dispersed patterns migrated. In

in The Irish tower house

. Bunting, The Model Occupation , p. 175; A. Blaszczyk, ‘The resettlement of Polish refugees after the Second World War’, Forced Migration Review 54 (2017), 71. 188 For example, see the case of Francisco Font who faced years of uncertainty over his citizenship even though he married a woman from Jersey immediately after liberation: ‘Interview with Francisco Font’, (5 December 2008

in 'Adolf Island'