Museum Visitor Behaviour

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Cultural Concepts, Translation and Cultural Hegemony: The Cross-Cultural Shadows of Materialism

This study examines the interplay of translation, power dynamics and cultural hegemony in shaping the meaning of ‘materialism’ as a contested cultural concept. It reframes Edouard Glissant’s archipelago metaphor to conceptualise the terms used across different cultures to refer to the concept of materialism as interconnected yet irreducible linguistic islands, resisting homogenisation while contributing to a global network of meaning. The analysis of the nuances and connotations of Indian lokāyata/cārvāka, European materialism/matérialisme/Materialismus, Arabic dahriyyah/māddiyyah, and Turkish dehriyye/maddiye/maddecilik/materyalizm reveals that each term of these functions as a site of memory (lieu de mémoire, Pierre Nora), encoding distinct cultural memories.

Spanning pre-modern to contemporary contexts, the analysis adopts a comparative diachronic lens, examining historical semantic shifts and modern adaptations (e.g. post-colonial terminology and digital materialism). Methodologically, the study employs onomasiological and semasiological analyses, drawing on conceptual history (Begriffsgeschichte, Reinhart Koselleck) to trace the etymological roots, and semantic and cultural trajectories of the studied terms.

The study demonstrates that the cross-cultural translation of concepts is an act of epistemic negotiation and a battleground for power. For instance, rendering dahriyyah (rooted in pre-Islamic Arabic notions of eternal time) as ‘materialism' in a medieval text risks imposing anachronistic Western frameworks, erasing its cultural specificity and perpetuating colonial epistemic violence (Gayatri Spivak). Similarly, shifts in Turkish terminology – from Ottoman dehriyye to Westernised materyalizm – reflect power struggles between Ottoman heritage, nationalist reforms, and globalised intellectual paradigms.

The findings underscore how dominant cultures weaponise language to naturalise hegemony. For instance, European materialism’s semantic evolution from materia (timber) to consumerist ideology mirrors colonial extractivism, while Sanskrit lokāyata’s stigmatisation as ‘heresy’, and cārvāka as ‘gluttony’ and ‘hedonism’ reveals Brahminical efforts to marginalise dissent and suppress heterodox thought. These cases highlight Joshua Fishman’s ‘Whorfianism of the Third Kind’, where language dynamically helps construct – rather than passively reflect – culture and thought.

Ultimately, the presentation argues that acknowledging the ‘shadows of meaning’ embedded in cultural terms is vital for ethical cross-cultural dialogue. By prioritising Glissant’s ‘right to opacity’ – the right of cultural concepts to retain partial untranslatability – over forced transparency, scholars and translators can resist flattening cultural nuance, challenge hegemonic frameworks, and foster equitable intellectual exchange. The study calls for heightened sensitivity to the political weight of linguistic choices, advocating translations that preserve lived histories and challenge universalising narratives in global discourses.

Keywords: cultural concepts, cultural hegemony, power, epistemic violence, cultural memory, materialism.

Based on the framework of eco-translation, the current study introduces the term fast translation, as a response to the increasing industrialization of translation processes in the digital age, which is the result of tension between limited cybertime and unlimited cyberspace. By analogy with the industrialization of food and the rise of fast food, the article argues how the demand for speed in translation has brought about drastic changes in the production and consumption of translation. Fast translation, in this way, prioritizes quantity over quality, leading to the loss of cultural nuance, ethical sensitivity, and environmental sustainability. Appealing to the Slow Food movement as a counter to the culture of speed, the study suggests that translation studies could benefit from a similar slow approach premised on quality, cultural sensitivity, and moral consideration.
This article makes use of an inductive case-study design in order to peel back the multiple layers of fast translation. Fed by examples of food translation (from Persian to English) on Instagram, we were able to discuss the features of fast translation and consequent implications. Due to its user-friendly nature, Instagram has gained widespread popularity and become deeply pervasive in cyberspace. The difficulty, however, still rests on the restrictiveness of cybertime. To overcome the constraints of cybertime, fast translation, on impulse, compresses both production and consumption time.
Beyond the intricate relationship between machine/AI translation and fast translation, key features of fast translation, as the study delineates, are prioritizing speed over quality and leaving out cultural and contextual details. Another key feature of fast translation is self-sufficiency, where translations are desired to be consumed quickly and independently, often sandwiching all necessary information into a single, easily digestible package. Such self-sufficiency, as useful as it seems, often diminishes or ignores cultural depth and nuance, such as traditional Persian cooking techniques, for quick, easily digestible content.
To discuss the ramifications of fast translation, the study draws on the concept of extractivism, which refers to the large-scale exploitation of natural resources. Without regard for long-term consequences, then, fast translation, in its relentless pursuit of speed and efficiency, mirrors the extractivist logic by exploiting not only natural resources but also humans. Such extractivism is exacerbated by the proliferation of high-tech translation tools, which, while promising efficiency, often seeks to conceal the human labor and the environmental cost of its development and deployment. Considering the environmental impact of fast translation, then, the study criticizes the significant energy consumption and resource extraction required to sustain the digital infrastructure that supports fast translation.
In essence, the article maintains that fast translation, while appearing well-suited to the digital era, is neither inevitable nor irreversible. Translators can get the worth of their work back, preserve cultural diversity, and ensure sustainability through adopting a reflective approach. The article thus presents a critique of translation industrialization in countering the broader ramifications of translation practices in a society constantly speeding up.

Studie reaguje na terminologickou nejednoznačnost ve výzkumu didaktiky českého jazyka ve vztahu k žákovu (před)porozumění. Na základě analýzy domácí i zahraniční literatury a s oporou o Rickertovo rozlišení paritního (analytického) a polaritního (hod-notícího) rozlišování vymezujeme vztahy mezi pojmy představa, prekoncept a koncept. Ukazujeme, že část dosavadní terminologie směšuje popisné a hodnotící dimenze, a argumentujeme pro udržení triády představa – prekoncept – konceptjako analytických (paritních) kategorií. Jako kurikulární ekvivalent, který umožňuje explicitní hodnotové(polaritní) rozlišování vzhledem k didakticky transformovanému vědeckému obsahu, navrhujeme užívání termínu žákovo pojetí učiva. Článek tak má ambice přispět k diskusi o vymezení adekvátní terminologie ve výzkumech didaktiky českého jazyka. Význam článku vidíme v potenciálu přispět 1. ke kultivaci komunikace výsledků mezi výzkum-níky a učiteli, 2. ke zpřesnění interpretace dat získaných ve výzkumech efektů výuky.

Museums play a crucial role in fostering social sustainability by encouraging active participation and engagement among both local and foreign visitors. A key aspect of this engagement lies in the effectiveness of exhibit labels, which serve as mediators between visitors and museum content. Drawing on the theoretical model for the sustainable development of museums (Stylianou-Lambert, Boukas, & Christodoulou-Yerali, 2014), this study explores the active participation and engagement parameter of social sustainability. Using the Omidvar Brothers Museum in Tehran as a case study, the research examines the effectiveness of Persian and English-translated exhibit labels and investigates how these labels foster visitor engagement, ultimately contributing to social sustainability. A framework based on 23 effectiveness criteria (Bitgood, 2000; Minneapolis Institute of Arts, 1993; Serrell, 2015) was employed to evaluate the effectiveness of the museum’s labels in both languages. The three most effective labels in each language were then selected for further analysis, each achieving an effectiveness score of 21 out of 23. To assess whether these highly effective labels successfully engaged visitors, an observational study was conducted, monitoring the reading behaviors of 69 local and 18 foreign visitors, analyzing their interactions with the selected labels in their respective languages. The findings revealed that 74% of local visitors engaged with the most effective Persian labels, spending an average of 6.7 seconds per label, while 83% of foreign visitors engaged with the English-translated labels, averaging 4 seconds per label. The higher engagement among foreign visitors, despite the equal effectiveness of both sets of labels, may be attributed to their curiosity and interest in experiencing a new culture. The results demonstrate that the majority of both Persian and English-translated labels were effective at the Omidvar Brothers Museum and that the most effective labels generated high levels of engagement from both local and foreign visitors. These findings underscore the direct connection between effective labels and increased visitor engagement, which, in turn, supports social sustainability by fostering meaningful interactions with exhibits.

İnsanlığın var oluşundan beri ihtiyaçların var olduğu bilinmektedir. İhtiyaçların doyuma ulaştırılması
yaşamın gerekliliklerinden biri olarak görülmektedir. İhtiyaç kavramıyla ilgili yapılan araştırmalarda
ihtiyaç kavramının mutluluk kavramıyla ilişkisi olduğu görülmüştür. Antik çağlardan beri bireylerin
hatta toplumların mutluluğa ulaşma gayesi göz ardı edilmemelidir. Epikuros ve Aristoteles gibi
düşünürlerin de odak noktası olan mutluluk, nihai bir hedef olarak görülmekteydi ve ona ulaşmada
rol oynayan farklı bakış açılarından bahsedilmiştir. Bireylerin kendilerini mutlu hissettikleri durumlar
ihtiyaçlarının doyuma ulaştığı halidir. Dolayısıyla dinlenme, eğlenme, yenilenme ihtiyaçlarını
karşıladıkları faaliyetler de rekreasyon faaliyetleridir. Çalışmada kavramsal çerçeve kapsamında,
mutluluk, ihtiyaç, rekreasyon ve boş zaman kavramlarına değinilerek rekreasyon ve boş zaman
faaliyetlerine katılım ihtiyacı üzerine yapılan araştırmalara ve motivasyon kuramlarına yer verilmiştir.
İhtiyaç tanımlarına yer verilirken, ihtiyaçların hiyerarşik sıralamalarına, ihtiyacın bazı özelliklerine
değinilmiş, ayrıca ihtiyaç kavramıyla ilişkili olan, güdü, dürtü ve istek kavramlarından kısaca
bahsedilmiştir. Boş zamanın tarihsel süreci incelenirken serbest zamanla olan ayrımına değinilmiştir.
Rekreasyon tanımlarında yer alan boş zaman kavramını ön kabulünün sınandığı çalışmalara yer
verilmiş, yenilenmenin (re-creative) boş zamana bağlı olmadan yaşamın her anında mümkün
olabileceği düşüncesi üzerinde durulmuştur. İhtiyaçların sonsuz olduğu düşüncesi kabulüyle,
ihtiyaçların keşfi, motivasyon teorileri ve yenilenme ihtiyacının karşılanma durumu yaşamın içine
entegre edildiği takdirde, rekreasyona duyulan ihtiyaçların karşılanması da sürdürülebilir hale
getirebilir. Böylece rekreasyon yöneticileri faaliyet tasarımı yaparken geri planda bunları göz önünde
bulundurdukları takdirde etkili faaliyetler düzenleyebilir, bireylerin hatta toplumun mutluluğa
erişmesine katkı sağlayabilmeleri mümkün olabilir.

Este trabajo tiene por objetivo exponer algunos resultados de los trabajos de campo realizados en Moma, Malba, Tate Modern y del Centro Pompidou, entre 2017 y 2023, en los que se han estudiado sus cafeterías y restaurantes observado sus modificaciones espaciales y sus propuestas gastronómicas. Las características compartidas y estables por estos espacios condujeron a reflexionar en la posible existencia de los géneros café y restaurante museal los cuales contribuiría a la aparición de nuevas prácticas de visita participando de la consolidación de vínculos sostenidos entre los museos y sus públicos. A tales fines, los cafés fueron estudiados bajo la noción de géneros mediáticos propuesta por Steimberg (2013) y la teoría de prácticas semióticas desarrollada por Fontanille (2008), ensayando un diálogo metodológico entre dos tradiciones de estudios semióticos: la argentina y la francesa.

This article presents a semiotic analysis of the mobile applications employed by various European exhibition spaces, including the Rijksmuseum in Amsterdam, the History Museum in Vienna, the Louis Vuitton Foundation, and the Pompidou Centre in Paris, to examine how these digital tools participate in the configuration of the visitor experience. The study examines the design of these mobile applications, with a particular focus on the activities that they propose during the museum visit. The analysis delves into the types of interactions that they propose with the museum’s architectural, curatorial, and artistic discourses, as well as between the visitors themselves. It seeks to address the following research question: How do museum applications, strongly linked to the use of social networks and access to online content, transform visiting practices and expand the museum experience beyond its physical confines? The findings indicate that while these applications can enhance the accessibility and personalization of the content available during the exhibition, their design disregards the spatial and material dimensions of museum visits, which involve the presence of other individuals with whom visitors interact and share the exhibition spaces. By interrogating the enunciative strategies of these digital tools, it becomes evident that the actions promoted by mobile applications involve practices whose spatio-temporal dimensions are incompatible with those of physical visits. This highlights the challenges of integrating mobile applications into contemporary curatorial practices.

Öz Araştırmanın amacı; balon uçuşlarının araştırma sahasındaki tarihsel geçmişi, bölgenin ekonomisine ve turizmine olan etkisi ve balona binen ziyaretçilerin profilinin nasıl olduğu sorularına cevap aramaktadır. Nitel araştırma yönteminin kullanıldığı bu araştırmada veri toplama yöntemi olarak görüşme tekniği tercih edilmiştir. Balon firmaları ile yarı yapılandırılmış görüşme formları üzerinden yüz yüze görüşmeler yapılmıştır. Nitel veriler; temalaştırılarak sınıflandırılmış ve anlamlı bir hale getirilmiştir. Yapılan temalaştırma ve alıntılamalar ile veriler betimlenerek yorumlanmıştır. Araştırma bulgularına göre, araştırma sahasında balon uçuşu 1992' de, ticari uçuşlar ise 2000'li yıllarda başlamıştır. Bölgede toplam 27 firma günlük toplam 156 balon kapasitesi ile 80-240 Euro fiyatlarla uçuş gerçekleştirmektedir. Balon firmalarında yaklaşık 1500 kişinin istihdam edildiği tahmin edilmektedir. Balona binen ziyaretçilerin yaklaşık yüzde 80-90'ı yabancılar olup, Çin ve Hintli turistler balona yoğun talep duymaktadırlar. Sosyal medyada balon fotoğrafların paylaşılması, çok sayıda yabancı turistin balona binmek için bölgeye gelmesine ve bölgedeki yabancı turist sayısının artmasına neden olmaktadır. Balon uçuşları, bölgenin tanıtılmasına ve bölgede rekreasyonel faaliyetlerin çeşitlenmesine imkân vermektedir.

Feodosijská obrazová galerie Ivana Konstantinoviče Ajvazovského, v době mého průzkumu v celkové rekonstrukci budovy, představuje své rozsáhlé a kvalitní sbírky, především malbu, vcelku tradičním galeristickým způsobem. Sbírkově nejbohatší je zřejmě Muzeum drevnostej (dávnověku) ve Feodosii. Jedná se jak o přírodniny, tak o zajímavé doklady života člověka od paleolitu až do 20. století. Muzeum je údajně nejstarší v celém Rusku a datuje svůj vznik až do roku 1816. Zatímco sbírky jsou velmi bohaté a přírodovědná část expozice se snaží alespoň částečně o nějaký kontext, historická expozice nesnese přísnější kritéria hodnocení. Jde o formalistické předvedení objektů s minimem kontextu a vzájemných vztahů. Prezentace již několik desítek let nedoznala žádné změny, chybějící skleněné části vitrín (uvnitř jsou středověké mince!) jsou přelepeny průhlednou izolační páskou. Expozice je časově dotažena do konce druhé světové války. Podmínky ke zlepšení situace jsou především dvě. Větší finanční zdroje a také "vědět jak na to". Snad v obou oblastech se již blýská na lepší časy. V květnu 2017 byl v Koktebeli uspořádán již druhý ročník Krymské muzeologické školy, pod vedením předních ruských odborníků, mezi které musíme počítat profesorku Marii Majstrovskuju, docentku Marii Kaluen a doktorku Irinu Čuvilovu z Moskvy či docenta Vladimíra Plochotňjuka ze Stavropolu. Několikadenního kurzu se zúčastňují především muzejníci a studenti muzeologie z Krymu a dalších částí Ruska, ale i z Ukrajiny (Kyjev, Záporoží apod.) a dokonce i z Moldávie. Součástí školy byla i prezentace nejlepších studentských prací, které s invencí řešily rozličná muzeologická témata, jako jsou naučné stezky v daném regionu, další rozvoj muzea krymských Tatarů, inovace etnologických expozic apod.

Metodika se zaměřuje na specifika muzejní edukace v památných vilách. Míří zejména ke čtenářům, kteří se v praxi zprostředkováním obdobné architektury zabývají nebo v budoucnu zabývat mohou. Teoreticky vychází ze základů výuky dějin architektury, didaktiky dějepisu a objektového učení. Navazuje zejména na tradici české muzejní edukace, která chápe jako své principiální jádro muzealitu. Zároveň se metodika odkazuje k moderním směrům v pedagogice, které kladou důraz na zaměření na učícího se jedince, tvorbu bezpečného prostředí pro učení a respektující komunikaci.

Cílem metodiky je poskytnout čtenáři vhled do problematiky, upozornit jej na specifika a potenciál muzejní edukace v památných vilách a vybavit jej základními didakticko-metodickými doporučeními. Druhou linkou metodiky je snaha o vyvolání zájmu čtenáře zamýšlet se nad praxí vlastní i praxí jiných institucí důkladněji, motivovat jej k individuálnímu hledání cest k dalšímu uchopení tématu.

Metodika se skládá ze čtyř hlavních částí, které pomáhají vymezit oblast zkoumání, pojmenovat specifika a potenciál práce s památnými vilami, ilustrovat zprostředkovávání tohoto typu kulturního dědictví různým cílovým skupinám, a nakonec shrnuje nejdůležitější body do přehledného metodického doporučení.

BRHLÍKOVÁ, Markéta, DROBNÝ, Tomáš a Monika MIKULÁŠKOVÁ, 2024. Muzejní edukace v památných vilách. Brno. ISBN 978-80-7028-609-8

İnsanların yaşamlarında önemli bir yer tutan serbest (ya da boş) zaman, kişinin çalışma ve kişisel bakım gibi zorunlu faaliyetleri dışında kalan zamanı eğlenceli, dinlendirici bir uğraşı ile geçirdiği zamanı ifade etmektedir. Bu çalışmada Safranbolu halkının serbest zamanı değerlendirme etkinlikleri incelenmiştir. Bu amaçla 429 kişiye anket uygulanmış ve çalışmada Safranbolu halkının serbest zamanlarını aile ile TV seyrederek, dinlenerek, gezmeye giderek, müzik dinleyerek genelde pasif aktivitelerle geçirdikleri, serbest zamanın değerlendirilmesinde ev içi faaliyetlerin önemli yer tuttuğu bulgularına ulaşılmıştır. Ayrıca halkın serbest zamanlarını ağırlıklı olarak arkadaşlarıyla geçirdikleri ancak serbest zaman faaliyetleri için fazla zaman ayırmadıkları saptanmıştır.

This research has the main objective to study structures that the participants enable to recall when they learn the new lessons in the following semester. For Level of processing is chosen to conduct this research. There are three levels of level of processing including Structural processing, Phonemic processing and Semantics processing. Semantics processing is considered as the level that the students acquire language. For data collection, the participants were 502 university students who studied in the course JPN-102 (Business Japanese 2) taught in the second semester in the academic year 2019 (2/2019) at Thai-Nichi Institute of Technology. For the research instrument, the rating-scale questionnaire was applied to collect data. The statistics used for the analysis were

The purpose of this study is to analyze the dual elements in the spatial analysis of the turbine hall of the Tate Modern Museum of Art. The Tate Modern Art Museum, remodeled by Herzog and de Meuron, organized the space in accordance with the changes in modern art at the time. In this process, it has a large space called a turbine hall, and this space serves as a hall, exhibition room, and transition space as the main space of the art museum beyond just an exhibition space. A turbine hole is a large space that can be seen simply as empty inside, but it is a space with properties that are difficult to specify as one, allowing the space to be recognized in various directions. Since these factors are not clearly distinct, they instill different images in people who encounter the space.

List of Figures………………………………………………………………………… xiii trips to other islands such as Khao Leam and Khao Yai giving the opportunity to observe species of birds native to the area, such as the Ko Chang hornbills and their relationship to Ko Chang's ecosystem. During the cooler months there is the opportunity to hire out a boat and glide gently along the waterways at night to observe the thousands of fireflies in their mating ritual. As they settle into the mangrove forest they send out signals, which appear as simultaneous flashing lights so making the trees come alive beside the dark waters of the river.

Abstract: The aim of this article is to gain practical insights into digital dissemination methods for audio guides and videos at the Lofotr Viking Museum by employing José van Dijck’s (2013) platform analysis and Gunnar Liestøl’s (2006) multimodal rhetorical tools. Feedback from museum guests, gathered through guide interviews and the author’ curatorial experiences, reveals that while the museum offers a factbased, technologyfocused exhibition, its dissemination methods lack adaptation to the medium. Many guests, particularly the elderly, face challenges
with audio guides and phone synchronization, prompting discussion on the digital divide’s impact on visitor experience.

Traditionally, museums have displayed their collections with a tendency towards a single, authoritative interpretation. Many contemporary museums, however, now design their exhibitions to be approached as a dialogue between artifact and audience so that the visitor can "complete the meanings of the object-technology interface through their own emotional and experience-based responses" (Andermann and Arnold de-Simine 2012). Such dialogue can be deconstructive and indicative of a postmodern approach to analyzing culture. As a result of this shift in the museum's mission, many have become "collaborative, hybrid institutions that are also part community center, part contemporary art space, part digital information hub, and part city plaza" (Tisdale, 2013). This has resulted in a radical reinterpreting of history, culture, and the arts, questioning mainstream acceptance of cultural concepts and giving a voice to alternative views and minority interpretations. Museums thus need to adapt to change through architecture, layout, curatorship, display methods, technology and educational policy. In this study, we report on a survey comparing two United States museums with two Japanese museums (in the historical, arts and design, and cultural museum genres). The survey was designed to address a question concerning what the changing educational roles and responsibilities of contemporary museum educators are, incorporating such ideas as those of Gardner on multiple intelligences, Housen and Yenawine on visual thinking strategies, Dewey on experience and education, and Piaget on cognitive development. A model for identifying external causative factors precipitating changes in museum curatorship and education is presented.