The Collections Of Early Museums Cultural Studies Essay

The Collections Of Early Museums Cultural Studies Essay Early museums began as the private collections of wealthy individuals, families or institutions of art and rare or curious natural objects and artifacts. These were often displayed in so-called wonder rooms or cabinets of curiosities. Public access was often possible for the respectable, especially to private art collections, but at the whim of the owner and his staff. The first public museums in the world opened in Europe during the 18th century and the Age of Enlightenment: the Amerbach Cabinet, originally a private collection, was bought by the university and city of Basel in 1661 and opened to the public in 1671. the Royal Armouries in the Tower of London is the oldest museum in the United Kingdom. It opened to the public in 1660, though there had been paying privileged visitors to the armouries displays from 1592. Today the museum has three sites including its new headquarters in Leeds.[2] the Musà ©e des Beaux-Arts et darchà ©ologie in Besanà §on was established in 1694 after Jean-Baptiste Boisot, an abbot, gave his personal collection to the Benedictines of the city in order to create a museum open to the public two days every week.[3] the Museo Sacro, the first museum in the Vatican Museums complex, was opened in Rome in 1756[citation needed] the British Museum in London, was founded in 1753 and opened to the public in 1759.[4] Sir Hans Sloanes personal collection of curios provided the initial foundation for the British Museums collection.[4] the Uffizi Gallery in Florence, which had been open to visitors on request since the 16th century, was officially opened to the public 1765[citation needed] the Belvedere Palace of the Habsburg monarchs in Vienna opened with a collection of art in 1781[citation needed] Louvre in Paris France. The Mona Lisa Painting by Leonardo Da Vinci resides in the Louvre. These public museums, however, were often accessible only by the middle and upper classes. It could be difficult to gain entrance. In London for example, prospective visitors to the British Museum had to apply in writing for admission. Even by 1800 it was possible to have to wait two weeks for an admission ticket. Visitors in small groups were limited to stays of two hours. In Victorian times in England it became popular for museums to be open on a Sunday afternoon (the only such facility allowed to do so) to enable the opportunity for self improvement of the other working classes. The first truly public museum was the Louvre Museum in Paris, opened in 1793 during the French Revolution, which enabled for the first time in history free access to the former French royal collections for people of all stations and status. The fabulous art treasures collected by the French monarchy over centuries were accessible to the public three days each dà ©cade (the 10-day unit which had replaced the week in the French Republican Calendar). The Conservatoire du musà ©um national des Arts (National Museum of Artss Conservatory) was charged with organizing the Louvre as a national public museum and the centerpiece of a planned national museum system. As Napolà ©on I conquered the great cities of Europe, confiscating art objects as he went, the collections grew and the organizational task became more and more complicated. After Napoleon was defeated in 1815, many of the treasures he had amassed were gradually returned to their owners (and many were not). His plan was never ful ly realized, but his concept of a museum as an agent of nationalistic fervor had a profound influence throughout Europe. American museums eventually joined European museums as the worlds leading centers for the production of new knowledge in their fields of interest. A period of intense museum building, in both an intellectual and physical sense was realized in the late 19th and early 20th centuries (this is often called The Museum Period or The Museum Age). While many American museums, both Natural History museums and Art museums alike, were founded with the intention of focusing on the scientific discoveries and artistic developments in North America, many moved to emulate their European counterparts in certain ways (including the development of Classical collections from ancient Egypt, Greece, Mesopotamia and Rome). Universities became the primary centers for innovative research in the United States well before the start of the Second World War. Nevertheless, museums to this day contribute new knowledge to their fields and continue to build collections that are useful for both research and display. Purpose Museums collect and care for objects of scientific, artistic, or historical importance and make them available for public viewing through exhibits that may be permanent or temporary. Most large museums are located in major cities throughout the world and more local ones exist in smaller cities, towns and even the countryside. Many times, museums concentrate on the host regions culture. Although most museums do not allow physical contact with the associated artifacts, there are some that are interactive and encourage a more hands-on approach. Modern trends in museology have broadened the range of subject matter and introduced many interactive exhibits, which give the public the opportunity to make choices and engage in activities that may vary the experience from person to person. With the advent of the internet, there are growing numbers of virtual exhibits, i.e. web versions of exhibits showing images and playing recorded sound. Museums are usually open to the general public, sometimes charging an admission fee. Some museums are publicly funded and have free entrance, either permanently or on special days, e.g. once per week or year. Museums are usually not run for the purpose of making a profit, unlike private galleries which more often engage in the sale of objects. There are governmental museums, non-governmental or non-profit museums, and privately owned or family museums. Museums can be a reputable and generally trusted source of information about cultures and history. Definitions include: permanent institution in the service of society and of its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment, for the purposes of education, study, and enjoyment, by the International Council of Museums;[5] and Museums enable people to explore collections for inspiration, learning and enjoyment. They are institutions that collect, safeguard and make accessible artifacts and specimens, which they hold in trust for society, by the UK Museums Association.[6] Types Types of museums vary, from very large collections in major cities, covering many of the categories below, to very small museums covering either a particular location in a general way, or a particular subject, such as an individual notable person. Categories include: fine arts, applied arts, craft, archaeology, anthropology and ethnology, history, cultural history, military history, science, technology, childrens museums, natural history, numismatics, botanical and zoological gardens and philately. Within these categories many museums specialize further, e.g. museums of modern art, local history, aviation history, agriculture or geology. A museum normally houses a core collection of important selected objects in its field. Objects are formally accessioned by being registered in the museums collection with an artifact number and details recorded about their provenance. The persons in charge of the collection and of the exhibits are known as curators. Archaeology museums Archaeology museums specialize in the display of archaeological artifacts. Many are in the open air, such as the Acropolis of Athens and the Roman Forum. Others display artifacts found in archaeological sites inside buildings. Art museums Main article: Art museum Museum of Modern Art An Art museum, also known as an art gallery, is a space for the exhibition of art, usually in the form of art objects from the visual arts, primarily paintings, illustrations, and sculpture. Collections of drawings and old master prints are often not displayed on the walls, but kept in a print room. There may be collections of applied art, including ceramics, metalwork, furniture, artists books and other types of object. Video art is often screened. The first publicly owned museum in Europe was the Amerbach-Cabinet in Basel, originally a private collection sold to the city in 1661 and public since 1671 (now Kunstmuseum Basel).[7] The Uffizi Gallery in Florence was initially conceived as a palace for the offices of Florentian magistrates (hence the name), it later evolved into a display place for many of the paintings and sculpture collected by the Medici family or commissioned by them. After the house of Medici was extinguished, the art treasures remained in Florence, forming one of the first modern museums. The gallery had been open to visitors by request since the sixteenth century, and in 1765 it was officially opened to the public. Another early public museum was the British Museum in London, which opened to the public in 1759.[4] It was a universal museum with very varied collections covering art, applied art, archaeology, anthropology, history, and science, and a library. The science collections, library, paintings and mod ern sculpture have since been found separate homes, leaving history, archaeology, non-European and pre-Renaissance art, and prints and drawings.[citation needed] The specialised art museum is considered a fairly modern invention, the first being the Hermitage in Saint Petersburg which was established in 1764.[citation needed] The Louvre in Paris was established in 1793, soon after the French Revolution when the royal treasures were declared for the people.[8] The Czartoryski Museum in Krakà ³w was established in 1796 by Princess Izabela Czartoryska.[9] This showed the beginnings of removing art collections from the private domain of aristocracy and the wealthy into the public sphere, where they were seen as sites for educating the masses in taste and cultural refinement. History museums Museum of the Filipino People, Manila History museums cover the knowledge of history and its relevance to the present and future. Some cover specialized curatorial aspects of history or a particular locality; others are more general. Such museums contain a wide range of objects, including documents, artifacts of all kinds, art, archaeological objects. Antiquities museums specialize in more archaeological findings. A common type of history museum is a historic house. A historic house may be a building of special architectural interest, the birthplace or home of a famous person, or a house with an interesting history. Historic sites can also become museums, particularly those that mark public crimes, such as Tuol Sleng Genocide Museum or Robben Island. Another type of history museum is a living museum. A living museum is where people recreate a time period to the fullest extent, including buildings, clothes and language. It is similar to historical reenactment. See also: Medical History Museum (disambiguation) Maritime museums Main article: Maritime museum Maritime museums specialize in the display of objects relating to ships and travel on seas and lakes. They may include a historic ship (or a replica) made accessible as a museum ship. Military and war museums Category:Military and war museums The Canadian War Museum Military museums specialize in military histories; they are often organized from a national point of view, where a museum in a particular country will have displays organized around conflicts in which that country has taken part. They typically include displays of weapons and other military equipment, uniforms, wartime propaganda and exhibits on civilian life during wartime, and decorations, among others. A military museum may be dedicated to a particular service or area, such as the Imperial War Museum Duxford for military aircraft or the Deutsches Panzermuseum for tanks, or more generalist, such as the Canadian War Museum or the Musà ©e de lArmà ©e. Mobile museums Mobile museum is a term applied to museums that make exhibitions from a vehicle, such as a van. Some institutions, such as St. Vital Historical Society and the Walker Art Center, use the term to refer to a portion of their collection that travels to sites away from the museum for educational purposes. Other mobile museums have no home site, and use travel as their exclusive means of presentation. Natural history museums For a more comprehensive list, see List of natural history museums The National Museum of Natural History in Washington, D.C. Museums of natural history and natural science typically exhibit work of the natural world. The focus lies on nature and culture. Exhibitions may educate the masses about dinosaurs, ancient history, and anthropology. Evolution, environmental issues, and biodiversity are major areas in natural science museums. Notable museums of this type include the Natural History Museum in London, the Oxford University Museum of Natural History in Oxford, the Musà ©um national dhistoire naturelle in Paris, the Smithsonian Institutions National Museum of Natural History in Washington, D.C., the American Museum of Natural History in New York City, the Royal Tyrrell Museum of Palaeontology in Drumheller, Alberta, Denver Museum of Nature and Science and the Field Museum of Natural History in Chicago. A rather minor Natural history museum is The Midwest Museum of Natural History is located in Sycamore, Illinois. Open air museums Main article: Open air museum An old farmhouse at the Salzburger Freilichtmuseum in Großgmain near Salzburg. Open air museums collect and re-erect old buildings at large outdoor sites, usually in settings of re-created landscapes of the past. The first one was King Oscar IIs collection near Oslo in Norway, opened in 1881 and is now the Norsk Folkemuseum.[citation needed] In 1891 Artur Hazelius founded the Skansen in Stockholm,[citation needed] which became the model for subsequent open air museums in Northern and Eastern Europe, and eventually in other parts of the world. Most open air museums are located in regions where wooden architecture prevail, as wooden structures may be translocated without substantial loss of authenticity.[citation needed] A more recent but related idea is realized in ecomuseums, which originated in France.[citation needed] Science museums For a more comprehensive list, see List of science museums Museum of Science and Industry Science museums and technology centers revolve around scientific achievements, and marvels and their history. To explain complicated inventions, a combination of demonstrations, interactive programs and thought-provoking media are used. Some museums may have exhibits on topics such as computers, aviation, railway museums, physics, astronomy, and the animal kingdom. Science museums, in particular, may consist of planetaria, or large theatre usually built around a dome. Museums may have IMAX feature films, which may provide 3-D viewing or higher quality picture. As a result, IMAX content provides a more immersive experience for people of all ages. Also new virtual museums, known as Net Museums, have recently been created. These are usually web sites belonging to real museums and containing photo galleries of items found in those real museums. This new presentation is very useful for people living far away who wish to see the contents of these museums. Specialized museums Museum of Toys and Automata in Verdà º, Spain A number of different museums exist to demonstrate a variety of topics. Music museums may celebrate the life and work of composers or musicians, such as the Rock and Roll Hall of Fame in Cleveland, Ohio, or even Rimsky-Korsakov Apartment and Museum in St Petersburg (Russia). Other music museums include live music recitals such as the Handel House Museum in London. In Glendale, Arizona, The Bead Museum[10] fosters the appreciation and understanding of the global historical, cultural and artistic significance of beads and related artifacts. The permanent collection includes beads from around the globe including a 15,000 year old bead. Temporary exhibits are also available. Museums targeted for the youth, such as childrens museums or toy museums in many parts of the world, often exhibit interactive and educational material on a wide array of topics, for example, the Museum of Toys and Automata in Spain. The National Baseball Hall of Fame and Museum is an institution of the sports category. The Corning Museum of Glass is devoted to the art, history, and science of glass. The National Museum of Crime Punishment explores the science of solving crimes. The Great American Dollhouse Museum in Danville, Kentucky, U.S.A., is depicts American social history in miniature.[11] Interpretation centres are modern museums or visitors centres that often use new means of communication with the public. In some cases, museums cover an extremely wide range of topics together, such as the Museum of World Treasures in Wichita, KS. Virtual museums A recent development, with the expansion of the web, is the establishment of virtual museums. Online initiatives like the Virtual Museum of Canada[12] provide physical museums with a web presence, as well as online curatorial platforms such as Rhizome.[13] Some virtual museums have no counterpart in the real world, such as LIMAC (Museo de Arte Contemporà ¡neo de Lima),[14] which has no physical location and might be confused with the citys own museum. The art historian Griselda Pollock elaborated a virtual feminist museum, spreading between classical art to contemporary art.[15] Some real life museums are also using the internet for virtual tours and exhibitions. On March 23, Whitney Museum in New York organized what it called the first ever online Twitter museum tour. Zoological parks and botanic gardens Zoos are considered living museums Main article: Zoo Although zoos and botanic gardens are not often thought of as museums, they are in fact living museums. They exist for the same purpose as other museums: to educate, inspire action, and to study, develop and manage collections. They are also managed much like other museums and face the same challenges. Notable zoos include the Bronx Zoo in New York, the London Zoo, the Philadelphia Zoo, the Saint Louis Zoological Park, the San Diego Zoo, Berlin Zoological Garden, the Taronga Zoo in Sydney, Frankfurt Zoological Garden, Jardin des Plantes in Paris, and Zà ¼rich Zoologischer Garten in Switzerland. Notable botanic gardens include Royal Botanic Gardens Kew, Missouri Botanical Garden in St. Louis, Brooklyn Botanic Garden, Chicago Botanic Garden and Royal Botanical Gardens (Ontario). Controversies The neutrality of this section is disputed. Please see the discussion on the talk page. Please do not remove this message until the dispute is resolved. (July 2010) The Guggenheim (New York) Controversies have arisen recently regarding artifacts being damaged or being exposed to high risk of damage whilst on loan. For example, an ancient Egyptian stone lion on loan from the British Museum was being manually carried down a flight of stairs (as shown in a BBC Television documentary 2007). The supervisor in charge advised the people carrying it if it starts to fall, let it drop.[citation needed] The irony is that these artifacts have been carefully excavated and transported, often thousands of miles, without damage. Once arriving at a museum the artifact usually does not receive the same level of care and attention that it received whilst being excavated and transported.[citation needed] Another example of this is the recent return of a Terracotta Army horse on loan from a museum in Rome, which showed the item to be damaged on return.[citation needed] As yet, there is no internationally agreed protocol for a level or standard of care of artifacts on display or on loan from museums. Like any institution dedicated to the memorialization of the past, museums play a substantial role in the construction of ideologies and identities, which is accomplished through a variety of means, though these typically pertain to the particular ways in which the past is put on public display. Museums serve to standardize our views of the past by the following means: failing to account for matters of historical (or more accurately, historiographical) dispute; by not providing alternative viewpoints by presenting the past in terms of a coherent, linear, unified narrative by creating complex audio, visual and textual experiences, in which the observer is overwhelmingly confronted by the massive weight of all the physical evidence: the photos, the facts, the personal vignettes-after being penetrated in such an intimate way by a holistic bodily experience, observers are then typically directed to gift shops, where they are likely encouraged to purchase books which can help to further reinforce the desired indoctrination of the museums particular ideology they present a view of history based often based upon the romanticization of the achievements of great men, brilliant thinkers, cultural or scientific innovators, war heroes (and their technologies) As is self-evident to the seasoned traveler, most national museums around the world adhere to the same basic structural patterns, whereby the past is divided up into a series of epochs, beginning with prehistory, then passing through the ancient and medieval worlds until finally arriving at the nations present. This view of the history is plainly teleological, which is to say that the past is depicted as a series of trends and developments aiming at the present condition. The point is often under-emphasized by those who love museums that a sizable percentage of museum artifacts have been acquired unethically (if ethics are defined in a Kantian sense at least). The government of Egypt for instance has consistently pressed the British Museum in London to return the enormous holdings of pharaonic objects seized by British (though not exclusively British) archaeologists during Britains period of colonial administration in Egypt, which began officially in 1882. The National Museum of Iraq was created during the British Mandate period through the efforts of colonial officer and Oriental Secretary of the short-lived British Mandate, Gertrude Bell.[citation needed] Management Vatican Museums The museum is usually run by a director, who has a curatorial staff that cares for the objects and arranges their display. Large museums often will have a research division or institute, which are frequently involved with studies related to the museums items, as well as an education department, in charge of providing interpretation of the materials to the general public. The director usually reports to a higher body, such as a governmental department or a board of trustees. Objects come to the collection through a variety of means. Either the museum itself or an associated institute may organize expeditions to acquire more items or documentation for the museum. More typically, however, museums will purchase or trade for artifacts or receive them as donations or bequests. Miami Art Museum in Miami, Florida For instance, a museum featuring Impressionist art may receive a donation of a Cubist work which simply cannot be fit into the museums exhibits, but it can be used to help acquire a painting more central to the museums focus. However, this process of acquiring objects outside the museums purview in order to acquire more desirable objects is considered unethical by many museum professionals. Larger museums may have an Acquisitions Department whose staff is engaged full time for this purpose. Most museums have a collections policy to help guide what is and is not included in the collection. Museums often cooperate to sponsor joint, often traveling, exhibits on particular subjects when one museum may not by itself have a collection sufficiently large or important. These exhibits have limited engagements and often depend upon an additional entry fee from the public to cover costs. Museum planning Museum planning  and Interpretive planning Sà £o Paulo Museum of Art in Sà £o Paulo, Brazil. The design of museums has evolved throughout history. Interpretive museums, as opposed to art museums, have missions reflecting curatorial guidance through the subject matter which now include content in the form of images, audio and visual effects, and interactive exhibits. Museum creation begins with a museum plan, created through a museum planning process. The process involves identifying the museums vision and the resources, organization and experiences needed to realize this vision. A feasibility study, analysis of comparable facilities and an interpretive plan are all developed as part of the museum planning process. Some museum experiences have very few or no artifacts and do not necessarily call themselves museums; the Griffith Observatory in Los Angeles and the National Constitution Center in Philadelphia, being notable examples where there are few artifacts, but strong, memorable stories are told or information is interpreted. In contrast, the United States Holocaust Memorial Museum in Washington, D.C. uses many artifacts in their memorable exhibitions. Notably, despite their varying styles, the latter two were designed by Ralph Appelbaum Associates. Exhibition design Article: Exhibit design Most mid-size and large museums employ exhibit design staff for graphic and environmental design projects, including exhibitions. In addition to traditional 2-D and 3-D designers and architects, these staff departments may include audio-visual specialists, software designers, audience research and evaluation specialists, writers, editors, and preparators or art handlers. These staff specialists may also be charged with supervising contract design or production services. The exhibit design process builds on the interpretive plan for an exhibit, determining the most effective, engaging and appropriate methods of communicating a message or telling a story. The process will often mirror the architectural process or schedule, moving from conceptual plan, through schematic design, design development, contract document, fabrication and installation. Etymology The English museum comes from the Latin word, and is pluralized as museums (or rarely, musea). It is originally from the Greek ÃŽÅ“ÃŽÂ ¿Ãƒ Ã¢â‚¬ ¦Ãƒ Ã†â€™ÃƒÅ½Ã‚ µÃƒ ¡Ã‚ ¿-ÃŽÂ ¿ÃƒÅ½Ã‚ ½ (Mouseion), which denotes a place or temple dedicated to the Muses (the patron divinities in Greek mythology of the arts), and hence a building set apart for study and the arts,[16] especially the Musaeum (institute) for philosophy and research at Alexandria by Ptolemy I Soter about 280 BCE.[17] The first museum/library is considered to be the one of Plato in Athens.[18] However, Pausanias gives another place called Museum, namely a small hill in Classical Athens opposite the Akropolis. The hill was called Mouseion after Mousaious, a man who used to sing on the hill and died there of old age and was subsequently buried there as well.[19] Most visited museums Main article: List of most visited art museums in the world Audio tour Cell phone tour Museum education Exhibition history Fire Museum Green museum International Museum Day (May 18) List of museums List of transport museums Police Museum Postal museum Public memory Virtual Library museums pages

Orphanages in America

Issue: Whether the United States’ policy shift away from institutional care is warranted given the benefits it provides. Description: The stigma associated with orphanages has lead policymakers in the United States to discourage the use of these institutional care facilities. The Social Security Act of 1935 authorized the first federal grants for child welfare services. Since then, the federal government has continued to encourage states to adopt Foster Care as their main child welfare system.The policies encouraging Foster Care are in large part due to the government’s recognition that the nuclear family is a superior model for child development. This, coupled with the traditionally negative view of children being raised in group homes, has lead to many myths about institutional care and encouraged the public’s negative stereotype of these facilities. The government’s adverse position to institutional care must be disabused. It limits a form of childcare that is proven to be effective and beneficial. The reasons and history behind the government’s biased view of these facilities is still unclear.Orphanages offer many disadvantaged children distinct advantages over foster care, some of which are structure, stability, and a sense of permanence. Children’s homes permit siblings to stay together, afford children a chance to develop moral and religious values, encourage a sense of responsibility and work ethic, as well as much needed education and job-related skills. There is great potential for orphanages to meet the needs of the many children who currently languish for years in the modern foster care system.It is time for policymakers to recognize the distinct advantages institutional care can provide. Sources: Barth, R. P. (2002). Institutions vs. Foster Homes: The Empirical Base for the Second Century of Debate. Chapel Hill, NC: UNC, School of Social Work, Jordan Institute for Families Carp, E. Wayne, Orphanages: The St rength and Weakness of a Macroscopic View Second Home: Orphan Asylums and Poor Families in America by Timothy A. Hacsi. Reviews in American History, Vol. 27, No. 1 (Mar. , 1999), pp. 105-111. The Johns Hopkins University Press) Article Stable URL: http://0www. jstor. org. aquinas. avemarialaw. edu/stable/30031010 Dozier, M. , Zeanah, C. H. , Wallin, A. R. and Shauffer, C. (2012), Institutional Care for Young Children: Review of Literature and Policy Implications. Social Issues and Policy Review, 6:Â  1–25. doi:Â  10. 1111/j. 1751-2409. 2011. 01033. x Levesque, Roger J. R. , The Failures of Foster Care Reform: Revolutionizing the Most Radical Blueprint, 6 Md. J. Contemp. Legal Issues 1, 35 (1995)Nurith Zmora, Orphanages Reconsidered: Child Care Institutions in Progressive Era Baltimore (Philadelphia: Temple University Press, 1994) McKenzie, R. B. (Ed. ) (1999). Rethinking orphanages for the 21st century. Thousand Oaks, CA: Sage Whetten, K. , Ostermann, J. , Whetten, R. A. , Pence, B. W. , O’Donnell, K. , Messer, L. C. , . . . & The Positive Outcomes for Orphans Research Team (2009). A comparison of the wellbeing of orphans and abandoned children ages 6–12 in institutional and community-based care settings? in 5 less wealthy nations. PLoS ONE, 4, e8169. doi: 10. 1371/journal. pone. 0008169.

Rudolf Laban

Rudolf Laban (1879-1958) is considered to be one of the founders of European Modern Dance. He was a dancer, choreographer and movement theoretician. In his new ideas on dance notation and strong belief that dance should be available for everyone; he has transformed modern dance and dance education. After refusing to Join the army, as his father had planned for him, aged 33 he moved to Munich as an artist. His previous study of architecture in Paris led to him to develop an interest for the moving body and its spaces.It was in Germany he furthered this interest by spending his summer trying to redesign Bewegungskunst (the art of movement). In 1919 Rudolf Laban set up two Dance Theatre Company's, a movement class for armatures, opened a main dance school, wrote articles and books, performed himself and also choreographed. In 1927 he moved to Berlin and opened the Choreographisches Institut and 3 years later he was appointed director of movement and choreographer of the Prussian State T heatres in Berlin.After failing to Join the ‘Nazi way of life' in 1936, his name and work was destroyed by the Government Propaganda Ministry whilst at the height of his career. So in 1938 he took refuge in Britain. When Rudolf Laban was sixty he began to introduce dance study methods such as Laban's analysis (splitting the analysis of dance into 4 simple categories: action, space, dynamic, relationship) with the help of Lisa Ullmann. Then finally in 1946 he opened the Movement Studio in Manchester.Rudolf Laban (1879-1958) is considered to be one of the founders of European Modern Dance. He was a dancer, choreographer and movement theoretician. In his new ideas on dance notation and strong belief that dance should be available for everyone; he has transformed modern dance and dance education. opened the Movement Studio in Manchester. and also choreographed. In 1927 ne moved to Berlin and opened t turtnered this interest by spending his summer trying to redesign egungskunst

Evaluating The Historia Website Http - 1406 Words

Introduction This report is created to evaluate the Historia website: http://www.women-scientists-in-history.com/historia.html. The page that will be mostly reference is the about page of this website. The design of the website, which includes typography is the major issue of the website, I could see from the start. This report will be centered around design and typography aspect. I evaluated the site in two ways, one was just by looking at the site and the other was by looking at the html codes and the CSS file. The website I chose also had a javascript file, but I did not analyze it, since we hadn’t studied it in the course of this class. About the Website The website is named Historia. This name is placed in a circle with a ladybug (logo of the site). The website has a baby blue background with purple ladybugs. The headings are in purple or what we call in French â€Å"mauve† (it’s a pinkish purple). The website is about the important historical women figure of science. The menu for the website is to the left in purple writing. The navigation through pages and different important women can lead to other links, which have not been updated (some of the links do not work anymore). The copyright 1999-2006, which could explain why some links don’t work anymore and makes you wonder if any information has been updated. The website when saved to a computer has a first general html file that you will see if you download any other pages. It also has an HTML page for the page youShow MoreRelatedEssay about The Mexican Tlaltelolco Massacre2491 Words   |  10 Pageswithin the literature: The Night of Tlatel olco and Winning the Street. The fragmented testimonies may seem to be off course in the beginning, but Poniatowska instructs the reader of its purpose: â€Å"Reading – and piecing together – the stories and evaluating their ethical implications go hand in hand: the process involves configurational understanding together with an awareness of the moral significance attached to the events pulled together into the narrative constellation† (Sorenson, 72) With theRead MoreCustomer Relationship in Tourism Industry13879 Words   |  56 Pagesand deliver value for consumers are the main tasks for almost all the marketers (Kolter Keller, 2006, p.19). Page 11 Mà ¤lardalen University EFO703-Bachelor thesis in Business Administration Figure 2: Expanded Marketing Mix for Services (Source: http://www.srmark.com/What-is-IMS.asp) Product: It could be a physical product or an intangible service. Referring to tangible products, some characteristics are mentioned as shown in the figure, namely, the product variety, quality, design, features,Read MoreMarketing Communication in the Hospitality Industry34407 Words   |  138 Pagescommunications. In marketing communications, the sender is an organization trying to communicate or promote its product or service. The promotional message is encoded and adjusted to the target customers, and then sent through any kind of medium, such as a website or magazine. The receiver, the potential customer, needs to decode the message and hopefully create an interest in the product or service. The feedback or response to the organization can be expressed in purchases or the absence of it. The factorRead MoreMerger and Acquisition: Current Issues115629 Words   |  463 PagesReduction as a Managerial Motive for Conglomerate Mergers†, Bell Journal of Economics, 12: 605–17. Anderson, R. C., Bates, T. W., Bizjak, J. M. and Lemmon, M. L. (1998) â€Å"Corporate Governance and Firm Diversification† (August 23, 1998). Available at SSRN: http:/ /ssrn.com/ abstract 121013 or DOI: 10.2139/ssrn.121013(www.ssrn.com) Argyres, N. S. (1995) â€Å"Technology Strategy, Governance Structure and Interdivisional Coordination†, Journal of Economic Behavior and Organization, 28: 337–358. Berger, P. G. and