Eugenijaus Jovaišos trilogijos "Aisčiai" pirmoji knyga "Kilmė"1 pasirodė 2012 m. pabaigoje, o gruodžio 14 d. jau spėta pristatyti visuomenei Lietuvos mokslų akademijoje. Monografijoje autorius nagrinėja I–V a. vakarų baltų – aisčių – archeologijos, kalbos ir istorijos šaltinius, analizuoja įvairių šalių tyrinėtojų pateiktus duomenis ir jų išvadas, kurios labai prieštaringos ir įneša didelę sumaištį į tyrinėjamo objekto mokslinį supratimą.Atrodo, kad I a. gyvenusio Romos istoriko Publijaus Kornelijaus Tacito (56–117) veikale "Germanija" (98 m.) pirmą kartą istorijoje paminėtos ir aptartos "Aestiorum gentes" – aisčių gentys – kuo toliau, tuo labiau kėlė vis sunkiau išrišamų klausimų, galop virto savotišku Babilono bokštu nesusikalbantiems tyrinėtojams. Nesutariama dėl pirminės aisčių apgyvendintosios erdvės net Tacito laikais, jau nekalbant apie ankstesnius amžius. Kokios gentys priskirtinos aisčiams? Ar lietuviai priskirtini? O estai? Pastaruosius klausimus užduodami savo tautiečiams
The Vytautas the Great War Museum (Lithuanian: Vytauto Didžiojo karo muziejus) is a museum in Kaunas, Lithuania. Originally it was established in 1921 but later it was decided to move to a larger location. A part of the new museum was opened in 1930, at the 500th anniversary of Vytautas the Great, Grand Duke of Lithuania, the namesake of the museum. The finished museum was opened on 16 February 1936. Museum displays historical artefacts pertaining to Lithuania and Kaunas from prehistoric times to the present day, including a large collection of historical weapons. There are expositions dedicated to the military skills of the Grand Duchy of Lithuania, Vytautas the Great Chapel, collections of weapons, firearms, ammunition, army uniforms of various states, defense of the Kaunas Fortress in 1915, and others. The airplane Lituanica, on which Steponas Darius and Stasys Girėnas flew across the Atlantic Ocean in 1933, is on display and remains a popular exhibition. Statues of Lithuanian national renaissance figures, and the Tomb of the Unknown Soldier and eternal flame, are located in the square in front of the museum. During the time of the First Lithuanian Republic (1918–1940), when Kaunas was the temporary capital of Lithuania, national holidays were celebrated in the square. The plaque commemorating book smugglers and distributors Knygnešių sienelė is also situated alongside... more on Wikipedia. The text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply.
The successful and internationally acclaimed Airborne Experience at the Airborne Museum is renewed. Visitors will get a first-hand impression of the Battle of Arnhem, scene by scene. You feel part of the huge airborne operation and battle that took place near Arnhem in September 1944. History is brought to life through a state-of-the-art combination of realist decors, overwhelming authentic footage, and light, sound and smoke effects.
Designed by Studio Architektoniczne Kwadrat, The Museum of the Second World War is built on a lot at Władysław Bartoszewski Square near the center of the city. It is located in a symbolic architectural space,
Last summer during our tour of the Washington, D.C. region, a fellow camper gave us a great tip about going to the National Museum of the Marine Corps. We had never heard of it before, but since we had some extra time in our schedule, we decided to go check it out, and we are
Explore thousands of artifacts, monuments, interactive exhibits and video presentations on display at the National Infantry Museum
Top 25 tourist attractions in Georgia. Explore sightseeing, travel destinations & fun things to do in Georgia at famous attractions like Georgia Aquarium, Forsyth Park, Zoo Atlanta, Savannah, and Jekyll Island.
Architect Foster + Partners has led a masterplan project, which has seen the reconfiguration of the building around nine large objects housed in a new atrium…
Several months ago, one of my mentees for this year, Catherine Charlebois of the Center for Montreal History, shared her experiences collecting oral histories. She continues the story with this long-delayed (from my end entirely) follow-up post on making those histories work in the exhibition itself. How to tell the stories using exhibition design? Part of the solution lied in the exhibition scenario. We decided that the events would follow a rearranged timeline. The exhibition wopened with the shock of the demolition – the end of the story-- and that gradually we would go back in time through the justification of the need for a modern city. It then traveled back even further to the exploration of the daily life in the neighbourhoods in the years just before their demolition. For the visitors, we hoped it would translate as a dramatic contrasting experience between the warmth of the personal accounts of the life in the neighbourhoods and the emotions generated by their loss and the coldness of the planning of a new modern city and the bureaucratic inventory of buildings to be demolished. In eight rooms, intriguing visual perspectives would arouse the visitor's curiousity. The design would combine a variety of presentation modes such as period rooms, poetic references to the locations, historical images and documents, and narrow and oppressive space. Knowing that the majority of the interviewees had been videotaped, the designers planned for different type of broadcasting through the different exhibit spaces : television units with surround sound or earphones; screens inserted into period objects; and screen projections integrated in the décor. But each time the size of the screens and the ways it was used in the space had to do with the narrative. How to tell the stories using testimonies? Now that we had a design concept, we had to make sense of the 75 hours of taped interviews. We wanted to base a large part of the exhibit's storytelling on the oral histories, we had to be very attentive, responsible and mindful while staying true to the historical content that we intended to present. It was the first time for our museum to base an exhibition almost entirely on oral history. We had few clues about how to do it. Few models existed for us. We had to invent our own solutions and develop a new methodology. For example, in the first room, where you find yourself in a demolished room, the tv screen, which sits on top of pile of abandoned furniture, is very small (in fact, it's the smallest of the whole exhibit) and presents the most emotional and moving documentary. We wanted to exacerbate the fact that we were showing something very intimate in this space. The size of the screen played a role. Graphic wise, the decor, the ambiance was the main focus there, the screen had to be more discrete. In contrast, when you ended up in the neighbourhood sections, the screens were much larger, (in fact 2 out of 3 ) were projections on the wall and were positioned so it would be the main focus of the room. The message was "listened to those stories. That's what's important". Everything else shown in theses spaces were secondary to what was presented in the documentaries. Thus, some of the decisions that we made to meet this new challenge were: The hiring of a professional film crew (cameramen, sound technician, artistic advisers, film editors) to help us in production and post-production. The hiring of well known and experienced documentary filmmaker who acted as our artistic director (and also as a mentor on how to make documentary features). The development of a specific methodology for the integration of the personal accounts into the exhibition; a blend of museum related and cinematographic approaches. Assistance from the Concordia University Centre for Oral History and Digital Storytelling (COHDS) regarding the methodology and ethical aspects of filming the interviews. In the end, we created 11 professionally-produced original short documentaries. These were in direct accordance with the exhibition concept and varied in length from 3 to 18 minutes. The documentaries screened in 7 exhibition areas for a total viewing time of one and a half hours. More than 100,000 visitors have now seen the exhibition. We know that these short films contributed greatly both to the atmosphere of the exhibition and to the visitor’s experience. And as we planned and hoped for, as visitors move through the exhibition, they were not reading about history, but they were “meeting” people who had seen it and listened to their own personal acoount of the story. In conclusion... This exhibition project represented the culmination of several years of experimentation with ways to bring out the value of oral history in exhibitions and in history-related activities. In the end, all the objectives set for the exhibition have been met. Thanks to the present-day relevance of the theme, the citizen-centered approach, strong press coverage, and the success (confirmed by visitor evaluations) of a design strategy based on a strong audiovisual component, the exhibition received an enthusiastic response from the media and from the public. In the first 5 months we noticed an 18% increase in total CHM attendance, with a 41% jump in attendance by Montrealers). The CHM succeeded in positioning itself as an important and innovative cultural, social, and museological actor in the eyes of the public, the media, its partners, and the City of Montreal. This exhibition gave the CHM the opportunity to acquire expertise in producing and directing media work. We developed a characteristic signature in exhibitions and set quality and content standards which have become a benchmark for our next projects. Plus, judging by the interest that this particular exhibition has generated among colleagues, local, national and international and the awards it won we gradually understood that it is seen as a model on not just integrating oral history in traditional history exhibitions but making it the focal point. But above all, the interviews carried out have given us a story which is at the same time knowledgeable and detailed, individual and collective, human and emotional – the story of the great urban upheaval that transformed Montreal in the second half of the 20th century. The interviews have given a voice to the citizens who were uprooted, to professionals who explain the issues of the period, and to today’s observers who evaluate its legacy. No more no less, they were entrusted the CHM with THEIR parcel of history, THEIR life moments, THEIR Montreal and again we (and I personally) thank them from the bottom of our heart for this unbelievable and fantastic opportunity. It has transformed myself as an individual and a museum professional and has revolutionized the way we do exhibitions at the Centre d’histoire de Montréal. Nothing less!
The train museum in Sacramento is one of the best train museums in the United States and one of the best museums in California. It has tons of interactive exhibits on railroad history all throughout the state.
The museum opened March 23 in Gdansk, where the war began. "This is the museum of a war, but not a military museum," says historian Pawel Machcewicz. The government wants something different.
The 70th Anniversary of VJ Day
Architect Foster + Partners has led a masterplan project, which has seen the reconfiguration of the building around nine large objects housed in a new atrium…
Die Militärgeschichte ist Teil der deutschen Kulturgeschichte. Auf diesem Verständnis basiert die Neuausrichtung des Militärhistorischen Museums der Bundeswehr in Dresden. Ausstellungskonzept und -gestaltung zielen auf den Dialog klassischer und ungewohnter Sichtweisen und erschließen einen neuartigen, gesellschaftsübergreifenden Zugang zu der komplexen Thematik.
A little while ago we made some DIY Painted cardboard vases inspired by traditional blue and white ones. We loved them but then we thought, we need to make some that can actually hold something! So behold the upgrade: 2D Cardboard Vases! These are an easy project to whip up in just a few hours. […]
It has been more than 70 years since the start of World War II, but tourists continue to visit war-related sights in Europe. Travel writer David Stewart White reviews a handful of important World War II venues in England and France.
