Museum learning

Virtual Fieldtrips (VFTs) have been used in history lessons for at least a decade. In Singapore, they are used mainly for historical investigations in lower secondary classrooms, which focus on local history. However, the use of VFTs in the teaching of the Cold War for upper secondary content related to modern world history is less common. This article argues that when VFTs are embedded in learning theories related to experiential learning, student motivation and distributed cognition provide classroom experiences that engage learners in authentic ways and lead to higher-order cognitive outcomes. It also proposes historical perspectives and significance along with inquiry-and museum-based learning with multisensory experiences as useful guidelines to design VFT-based lessons on the Cold War for secondary school students.

Teaching regional history can provide significant opportunities to connect students to their communities, cultures, and historical legacies, with a learning experience that is engaging, inclusive, and meaningful to their lives. Pluralist regional history teaching that incorporates multiple perspectives equips students with critical thinking skills that are important to the development of democratic citizenship and promoting diversity in unity. To date, there has been limited academic or expert research on the status or impact of regional history teaching in Europe, despite post-Second World War acknowledgments of its importance. This report assesses the value of teaching regional history, current student access to it, and the obstacles that hinder its expansion-particularly at the level of regional authorities. It finds that regional history lacks recognition and is poorly represented in the history curricula and textbooks in most European countries. In response, the report outlines potential solutions, including initiatives and actions by regional authorities, to broaden and strengthen regional history education for the benefit of teachers, students, and regional communities across the continent.

Abstract: The notion of places of memory emphasizes that memory can be embedded in symbolic, cultural, or material forms. Any object, ritual, or structure that reflects a community’s collective identity and historical consciousness may function as a place of memory. Commemorative rituals necessitate tangible items or locations to prevent the loss of
memory. In this sense, institutions and structures like museums and monuments embody collective memory maintained not due to present necessity, but out of respect for past and a desire for continuity.
French historian Pierre Nora, known for his theoretical insights into national memory and historical representation, contends that memory cannot be confined to a certain physical location. Nora's notion of lieux de mémoire (1989) illustrates that memory beyond physical locations; it may be manifested in various situations through symbolic representations, cultural practices, and social interactions. This approach demonstrates that collective memory manifests in social life as multiple and fluid, rather than being associated with a fixed place.
Museums and monuments serve as institutional embodiments of collective memory within the public realm. Daniel Libeskind's Holocaust Museum in Berlin and Maya Lin's Vietnam Veterans Memorial in Washington exemplify the embodiment of memory into environments. These structures act as both historical archives and venues for the
reproduction of social identities and collective historical consciousness within the public realm. Through such spaces, memory transforms into not merely individual recollection but also a manifestation of collective experience and political representation. The idea of world-lessness defined in Hannah Arendt's discourse emphasizes the necessity for the public sphere to extend beyond the spatial existence of individual humans. On the other hand, common world indicates a temporality that extends human existence and cannot be restricted to a singular generation. From this perspective, public places intended for improving collective memory must include not only visual or historical representations, but also multidimensional environments that engage physical, auditory and sensory dimensions. Consequently, memory spaces enable the existence of collective consciousness, which operates at both individual and social levels.
Keywords: Places of Memory, Collective Memory, Public Sphere, Monuments and Museums, Historical Representation

This paper presents the design rationale and conceptual framework for a virtual gallery platform aimed at supporting digital curatorship and cultural engagement in academic contexts. Grounded in the lessons learned from a legacy foundational prototype and informed by user-centered research, the platform is designed to enable students, educators, and cultural heritage professionals to curate, configure, and share digital exhibitions based on institutional collections. The paper defines the platform's architectural vision and functional requirements, structured around four main components: a digital library, a 3D exhibition environment, a publishing interface, and an AI-based curatorial assistant. A formative user experience evaluation with emerging professionals provided critical insights into usability and curatorial needs, directly informing the design of the proposed platform, as a reference model for integrating digital heritage practices into university education, fostering both curatorial agency and sustainable access to underused collections.

The aim of the article is to provide a theoretical and empirical understanding of interpreted museums as a new  museum-organizational model emerging within the transformation of the museum paradigm, and to define their role in activating history as a resource in European sustainable development practices.

The research methodology is based on systemic-analytical, comparative, historical-cultural and typological  approaches, which made it possible to identify key patterns of paradigm transformation, analyze contemporary practices of  historical interpretation, and develop a typology based on empirical data (23 institutions in 10 countries).

Research results. Contemporary museum practice demonstrates a stable shift from an object-centered model to a  meaning- and experience-oriented one, where interpretation becomes the core mechanism of content construction. The  concept of «interpreted museums» is introduced as a broader analytical category that goes beyond narrative museums and  includes various forms of interpretive museification, particularly of immovable heritage. In these institutions, original objects  play a secondary or optional role, while meaning is conveyed through spatial, multimedia, and scenographic tools. A typology  of five types is proposed. These museums activate history by transforming it into a socially meaningful experience, contributing to local identity, social cohesion, and territorial attractiveness.

Scientific novelty lies in substantiating interpreted museums as a distinct model beyond the collection-based paradigm and integrating museum studies, heritage studies, and territorial capital theory.

Practical significance. The results can be applied in heritage management, territorial development, cultural  policy, museum design, and education

Les 11 et 12 juin 2026, la Haute école pédagogique du canton de Vaud accueille un colloque international pour explorer le rôle du jeu dans l'Antiquité et ses apports pour l'enseignement et la médiation culturelle aujourd'hui. Les intervenant.es mettront en lumière les dimensions sociales, culturelles et symboliques des pratiques ludiques antiques, tout en interrogeant leur potentiel dans les contextes éducatifs et muséaux contemporains. Cet événement réunit des spécialistes issus de domaines variés -philologie, archéologie, histoire culturelle, didactique -ainsi que des professionnel•le•s de la médiation culturelle et du monde muséal. Les échanges interdisciplinaires permettront de confronter les approches scientifiques aux réalités du terrain. Ils exploreront des pistes concrètes pour intégrer les jeux antiques dans l'enseignement des langues et cultures classiques, ainsi que dans les dispositifs de médiation. ¥ Des apports concrets pour les pratiques pédagogiques L'événement vise à produire des résultats directement mobilisables, notamment en matière de développement de ressources pédagogiques fondées sur les sources antiques. Il s'agit également de nourrir une réflexion sur l'usage du jeu comme levier d'apprentissage, en lien avec les enjeux actuels de l'enseignement et de la transmission des savoirs culturels.

Η μάχη του Μαραθώνα δεν ήταν απλώς μια στρατιωτική αναμέτρηση δύο αντίπαλων σχηματισμών, αλλά μια καθοριστική αναμέτρηση δύο διακριτών κόσμων και πολιτισμών, Η μάχη αυτή δεν ήταν απλή συμπλοκή κάποιας περσικής εμπροσθοφυλακής ή εκστρατεία αντιποίνων με περιορισμένους στόχους. Η εκστρατεία στην Αττική αποτελούσε τμήμα ενός σταθερού σχεδίου της περσικής γεωπολιτικής, διακηρυγμένοι σκοποί της οποίας ήταν η καθυπόταξη της Ελλάδας και ο πλήρης έλεγχος του Αιγαίου Πελάγους και αργότερα της Ευρώπης.

Between the ��fteenth century and the late nineteenth, Europeans and Americans forcibly transported an estimated 18 million men, women, and children from various parts of the African continent across the globe, enslaving them and their descendants, along with members of Indigenous populations in

The article examines relevant issues related to the implementation of the educational function of the museum within the context of museum pedagogy. Using the projects of the State Museum of Arts named after I. V. Savitsky as an example, it analyzes contemporary forms of museum-based educational activities aimed at socialization, the development of aesthetic perception, and the formation of cultural identity among the younger generation. Particular attention is given to the project "Museum on Wheels" as an effective model of mobile enlightenment, as well as to innovative educational initiatives that integrate art and modern pedagogical technologies.

Despite sustained institutional investment in adult programming, the empirical basis for adult learning in museums remains poorly mapped. This scoping review systematically charts peer-reviewed, indexed research on the subject, following PRISMA-ScR guidelines. Screening 531 records from Scopus and Web of Science yielded 57 eligible empirical articles published between 1999 and 2025. Analysis reveals four principal thematic clusters: (1) learning outcomes (n = 22), (2) social role of museums (n = 19), (3) learning environment (n = 12), and (4) inclusion and accessibility (n = 11). Publication volume increased markedly after 2014, accompanied by greater thematic and geographic diversity, though Anglophone contexts account for 58% of the sample. Qualitative approaches predominate (n = 33); however, critical appraisal indicates that quantitative and mixed-methods studies achieve more consistent methodological rigor. Adult learners are most commonly treated as an undifferentiated population, with finer-grained segmentation by motivation, prior experience, or learning trajectory remaining rare. The mechanisms through which learning unfolds during museum visits, and how these vary across individuals and contexts, are comparatively neglected. We identify these process-level questions as the most consequential gap for future research.

This article presents the development and implementation of the VIOLA chatbot at GiArA, the Plaster Casts and Antiquities Museum of the University of Pisa. Developed in collaboration with the University of Florence within the ReInHerit H2020 project, VIOLA enhances digital accessibility and personalizes museum experience through AI-driven interaction. It enables visitors to explore artworks via their smartphones using natural language and visual analysis, with content validated by curators. This tool complements, rather than replaces, traditional interpretation and fosters inclusive, participatory engagement in line with contemporary museology principles.

Parigi, 1794. La Repubblica conquista. Ma non sono soltanto territori che essa strappa ai vinti — sono anche, e soprattutto, i loro capolavori.
Mentre gli eserciti francesi dilagano nelle Fiandre, in Italia, a Roma e a Venezia, un'altra guerra si combatte nelle sacrestie e nei palazzi: quella dei commissari alle arti, muniti di inventari e requisizioni, che saccheggiano metodicamente le più grandi collezioni per arricchire il Museum di Parigi. Van Eyck, Rubens, Raffaello, Tiziano, Veronese — tutto ciò che l'Europa ha di più prezioso prende la via della Francia.
Dall'abate Grégoire, teorico tormentato del saccheggio legale, al giovane generale Bonaparte che impone la sua legge ai principi italiani con il sorriso di un uomo che sa esattamente quanto vale, La Grande Razzia ripercorre la nascita di un sistema inedito: il furto di Stato eretto a politica culturale.
Primo tomo di una saga storica in quattro volumi, dal respiro epico, ancorata ai fatti, implacabile nel suo sguardo sugli uomini e il potere.

Museums are cultural spaces that should promote accessibility and inclusion for all. However, accessibility is often interpreted as removing physical barriers, overlooking less visible obstacles-such as cognitive, sensory, and communicative challenges-that can profoundly shape the museum experience for people with intellectual disabilities. This paper presents an ethnographic case study conducted in the Veneto region of Italy, in collaboration with a group of individuals with Down Syndrome (DS), aiming to explore their lived experiences of a museum visit. Drawing on participant observation and in-depth interviews, the study examines how visitors with DS engage with the museum environment on behavioural and sensory levels. Findings reveal the impact of environmental stimuli, difficulties in navigating abstract or densely layered visual content, and the importance of embodied interaction with objects and spatial cues. Positive experiences emerged from relational engagement, guided facilitation, and the use of multi-sensory supports. The study underscores the need for museums to move beyond compensatory or charity-based models of accessibility, and instead adopt inclusive design principles that value neurodiversity and participatory co-creation. In doing so, this research contributes to the emerging discourse on how museums can become safe spaces for learning, dialogue, and self-expression for people with intellectual disabilities.

Through a publication in the Press dated 28.
2.1901, the handwritten reports of the chemist
Othon Rhousopoulos dated 1903 and 1908 and
a handwritten request of the special technician
Ioannis Papanikolaou dated 1904, which are kept
in the Historical Archive of the Directorate for the
Management of the National Archives of the Hellenic Ministry of Culture, the present paper presents the difficult financial situation of the latter
and the inappropriate working conditions that
prevailed at the National Archaeological Museum
during the conservation work of the bronze finds
from Antikythera in the beginning of the 20th c.

This study explores the possibilities for social engagement within
a Hungarian, county-level municipal museum through an Erasmus+ professional mobility program, which enabled museum professionals to learn from the practices of partner institutions abroad. Job shadowing, as a non-formal learning method, provided the opportunity for direct experience, active participation, and professional mentoring, allowing participants to become familiar with innovative, community- building museum practices. Adapting these methods to the domestic context
could represent significant progress in the development of museum education.
The paper offers a detailed analysis of the project implemented by the Janus Pannonius Museum (JPM), during which the institution’s professionals visited inspiring museum programs across Europe, with a particular focus on inclusive and participatory practices.

Is it possible to conceive of exhibitions featuring historical artworks that don't tell "a single story"? Can reparative practices help ensure more plural museum narratives and minimize the impact of imperial or colonial legacies? It is with this in mind that we aim to analyze the exhibition "Pretagonismos no Acervo do Museu Nacional de Belas Artes" (Black Protagonism in
the National Museum of Fine Arts Collection), held at Espaço BNDES (2024-2025). We believe this exhibition allows us to think from the perspective of a "potential history," as proposed by Ariella Aïsha Azoulay. A potential history is neither a history of possibilities (what if ?) nor a history solely of the oppressed. Instead, it's a history that can unearth what lives in the present,
amidst the rubble of the disaster of colonization and slavery. In this way, imperial history is reduced to just one of the possible stories to be told, not the only one. We conducted three visits to the exhibition, in addition to participating in a debate with the curators and the director of the
MNBA. Photographs, videos, and field diary notes form part of our analytical corpus, as does the exhibition catalog. Through the act of re-titling artworks, effacing, and highlighting portraits of Black individuals—especially the works in the "Nas Brechas da Representação" (In the Gaps of Representation) section—the curators manage to reclaim the Black potency that was already
present in the past as an alternative pathway, yet persisted as an underground memory.

Gelastopoulou, M. [Γελαστοπούλου, Μ.] – Lambrelli, D. [Λαμρπέλλη, Δ.] – Steiakakis, Ch. [Στειακάκης, Χ.] – Theodorakopoulou, P. [Θεοδωρακοπούλου, Π.] – Vitsa, A. [Βίτσα, Α.] – Simpsi, A. [Σίμψη, Α.] – Kyriazidou, E. [Κυριαζίδου, Ε.], Traffic Education in Greek Education. A Guide for Educators, Coordinators: P. Piliouras [Π. Πήλιουρας], M. Gelastopoulou [Μ. Γελαστοπουλου], P. Charalambidou [Π. Χαραλαμπίδου], Editors: E. Spanoudakis [Ε. Σπανουδάκης], Ch. Steiakakis [Χ. Στειακάκης], Αθήνα, Ινστιτούτο Εκπαιδευτικής Πολιτικής (ΙΕΠ), 2025. See: https://www.iep.edu.gr/ekdosi-tou-odigou-i-kykloforiaki-agogi-stin-elliniki-ekpaidefsi-odigos-gia-ekpaideftikous-apo-to-institouto-ekpaideftikis-politikis/

Στην παρούσα εργασία παρουσιάζουμε έρευνα που αφορά στο πώς οι εκ-
παιδευτικοί της πρώτης βαθμίδας αντιλαμβάνονται τη σύνδεση του ανα-
λυτικού προγράμματος σπουδών με τα ζητήματα που σχετίζονται με τις
κοινωνικές διαφοροποιήσεις και πώς αυτό επιδρά στις πρακτικές τους.
Όλες/οι οι συμμετέχουσες/οντες ήταν εκπαιδευτικοί που υπηρετούσαν
σε ένα πειραματικό δημοτικό διαπολιτισμικό σχολείο της Θεσσαλονίκης.
Η έρευνά μας ήταν ποιοτική, η ερευνητική στρατηγική ήταν η Μελέτη
Περίπτωσης και η βασική ερευνητική τεχνική μας η συνέντευξη βάθους.
Σύμφωνα με τα αποτελέσματα της έρευνας, οι εκπαιδευτικοί φαίνεται ότι
αντιλαμβάνονται την κρισιμότητα του αναλυτικού προγράμματος σπου-
δών για τα ζητήματα της «διαφορετικότητας», αλλά οι πρακτικές τους δεν συνάδουν με μια διαπολιτισμική εκπαίδευση που στοχεύει στην κοινωνική δικαιοσύνη.

Every year since 1977, the International Council of Museums (ICOM) has organised International Museum Day (IMD), a unique moment for the global museum community. On this day, participating museums plan creative events and activities aligned with the annual theme, engage with their audiences, and highlight the important role museums play as institutions that serve society and its development. Each year, ICOM’s Advisory Committee proposes a socially relevant theme, enabling museums to present achievements, address challenges, and emphasise their role in society. This shared focus allows museums worldwide to amplify their message through collective action.
May is the month in which the whole of Bosnia and Herzegovina celebrates museums, institutions that represent a vital part of the country’s culture and identity. The largest museum event in Bosnia and Herzegovina, International Museum Day and the European Night of Museums, began in 2006. This year marks the 20th anniversary of its celebration in the country. The initiative started modestly but with great enthusiasm, following the official establishment of ICOM Bosnia and Herzegovina.

Com o Projeto DECHADOS, procuramos melhorar o estado da criatividade durante as visitas a museus. Um aspecto importante a reforçar é a relação entre os centros educativos e os museus, daí que o foco do estudo se tenha centrado especificamente nas visitas de observação. O projeto DECHADOS nasceu do Grupo CREARI de Investigação em Pedagogias Culturais (GIUV2013-103) da Universidade de Valência. Participam dezessete investigadores de seis comunidades autónomas de Espanha.

THE VARIABLES THAT CREATE THE BASIS FOR REPUBLICAN HISTORY TURKISH
EDUCATIONAL SYSTEM 
Abstract
The purpose of this study was to introduce the variables related to development and innovations that create the fundamental
basis for the Republican History Turkish educational system. Within the scope of the study, the literature was reviewed
comprehensively in order to determine the way modern Turkish educational system has followed within its historical
development line. The basis for the innovation and reform acts of modern Turkish Republic State in education was
established with Imperial Edict of Reform declared in 1839. In this Reform Period, education was firstly considered as a
science, and development of education was determined to be the most substantial way of competing with Western rivals.
This determination has become a vital diagnosis in our educational history, and has remained important until today. Putting
the western educational approach into practice started with the foundation of similar Western schools and educational
institution in the Ottoman Empire. As western educational system and implementations were put into practice, classical
educational institutions such as madrassas discovered their deficiencies and aspects open to development, and new
curriculums were prepared in accordance with these innovations. Together with new educational institutions, more
individuals were provided to be benefit from education, quality of education developed, and the curriculums besides general
education became permanent. Military schools and institutions were the pioneers of modernization in education and
organizing the Ottoman education with new approaches. Republican Education was especially tried to be reformed on the
basis of modern Western approaches considering democratic, secular and social constitutional state principles after the
proclamation of republic. 
Keywords: Republican History, Modern Turkish Educational System, Western Style Education, National Education,
Democratic and Secular Education

The article focuses on the processes of presenting contemporary Japanese photography in Russia from the early 1990s to the early 2020s. The end of the Soviet period, in which Japanese photography
had its own expositional peculiarities, brought new opportunities and significantly expanded the geography of exhibition, as well as increased the number of cultural initiatives aimed at presenting Japanese art,
including photography. The article outlines and analyzes the dynamics of Japanese photography exhibition in
Russia and provides a brief overview of the largest and most significant exhibition projects in Moscow and St. Petersburg. The specifics and trajectory of Japanese photographers' shows in different regions of Russia, including touring projects, are also noted. In addition, the author gives information about the participation of Japanese photographers in international art fairs in Moscow and considers the role of magazines in
popularizing photography from Japan. The appendix to the article contains the most complete list of exhibitions of Japanese photographers in Russia from 1993 to 2023.

This study analyzes recent trends (2020)(2021)(2022)(2023)(2025) in the application of artificial intelligence (AI) technologies within museums and cultural heritage institutions. Drawing on a critical and comparative review of both Arabic and international literature, the research Shows how AI enhance visitor experience, and institutional sustainability and culture preservation, the study discussed chatbots, the virtual reality and image and behavioral analytics depend on big data. Findings reveal that AI significantly contributes to cultural engagement, personalized content delivery, and operational cost reduction. However, challenges such as infrastructure limitations, lack of technical expertise, and ethical concerns remain prominent. The study recommends that Arab institutions actively adopt AI technologies through collaborative initiatives and digital policy reforms, and urges future research to focus on culturally adaptive and practical implementation models.

catálogos e arquivos, e a partir de uma perspectiva da Afrocentricidade, analiso como a curadoria de Araújo contribuiu para a visibilidade de artistas negros, ao mesmo tempo em que dialoga com as tensões do sistema hegemônico de arte. O objetivo é reposicionar o debate sobre a arte afrodiaspórica no Brasil como formas de reexistência a partir de epistemologias negras.

The presentation of this case-study which focuses on how engagement via citizen science research paired with experimental archaeology methodology allows individuals from throughout the island of Ireland, to engage, learn, research and (re)construct, first hand, an archaeological artefact. The object in this instance is the Ballybunion Knitted Cap from the collection of the National Museum of Ireland. While woolen knitted caps are commonly associated with lower socio-economic status in the 16th century, surviving examples offer limited insight into the lived experiences and skills of the cap knitters who produced them. Conducted as part of an MSc in Archaeology thesis, this research explored the working lives of cap knitters by (re)constructing the Ballybunion cap. The experimental archaeology research was conducted via a citizen science approach with a research group of 22 participants, supported by funding from the Vin Davis Bursary. Through hands-on engagement, the project generated new understanding of the experiences, skills, and time that would have likely been required and aided knitters in the producing such garments. This case study shows how we can explore the past together in a collaborative form of engagement and education.

Erkenntnis im Horizont der Digitalität Die Erkenntnistheorie steht im Zeitalter der Digitalität vor einer grundlegenden Neubestimmung ihres Gegenstandsbereichs. Während klassische erkenntnistheoretische Ansätze Erkenntnis primär als Verhältnis zwischen Subjekt und Objekt konzipieren, verschiebt sich diese Konstellation unter digitalen Bedingungen hin zu komplexen, technisch vermittelten Relationen. Digitale Technologien sind nicht länger bloße W erkzeuge der Erkenntnis, sondern konstitutive Bedingungen ihrer Möglichkeit. Sie strukturieren Wahrnehmung, Aufmerksamkeit, Zugriff und Verarbeitung von Information und greifen damit tief in die epistemischen Praktiken selbst ein. Diese Transformation ist jedoch nicht allein als Erweiterung bestehender epistemischer Vermögen zu verstehen. Vielmehr entsteht mit der Digitalität eine neue Form epistemischer Realität, die sich nicht mehr hinreichend im Rahmen klassischer Kategorien wie Repräsentation, Wahrheit oder Rechtfertigung erfassen lässt. Digitale Umgebungenetwa das Internet oder immersive virtuelle Räumefungieren nicht nur als Speicher-und Distributionsmedien von Wissen, sondern als eigenständige Kontexte, in denen Erkenntnis ermöglicht und hervorgebracht, aber auch eingeschränkt wird. Damit ändert sich die Struktur epistemischer Subjektivität. Das erkennende Subjekt ist nicht länger isolierter Ursprung von Erkenntnisakten, sondern Teil eines vernetzten Gefüges aus technischen Systemen, sozialen Interaktionen und digitalen Artefakten. Erkenntnis wird zu einem relationalen Geschehen, das sich in hybriden Konstellationen und Interaktionen von Mensch und Technik vollzieht. Diese Entwicklung lässt sich als eine Form verteilter oder erweiterter Erkenntnispraxis ver-J. Noller (

La exposición Reconstruir se puede ver en el Museu Paleontològic de València desde el 29 de abril hasta el 209 de mayo de 2026. Se trata de una muestra de instalaciones artísticas realizadas por el alumnado de la Universitat de València que cursa la asignatura "Propuestas didácticas en educación artística". Un proyecto artístico y educativo que cuenta con la coordinación de Begoña Poza directora del Museu Paleontològic de València y el comisariado de Ricard Huerta.

Museums have undergone a major transformation in their relationship with visitors. The institution has moved away from transmitting information to provide a suitable environment for visitors' meaning-making. This requires recognizing that visitors have control over their interpretation of the collections and the visit experience and, therefore, incorporating them as active participants. Over the last decades, museums have implemented strategies to share interpretative power with visitors, from contribution or collaboration to co-creating the exhibition content. This paper classifies participatory strategies by considering how much interpretative power museums need to share to implement them. It also addresses the process of sharing authority, one of the main pieces of evidence of the turn to the visitor.

Οι μυθικοί µονόλογοι της συλλογής, χωρισμένοι σε τρία μέρη (Ι. Νερό, ΙΙ. Φωτιά, ΙΙΙ. Ουρανός) που ωστόσο επικοινωνούν μεταξύ τους, συνοµιλούν με ποικίλους τρόπους με τη μυθολογική παράδοση αναζητώντας καλειδοσκοπικά αντιστίξεις και συστοιχίες με τη σύγχρονη πραγματικότητα. Μέσω της παραβολής και της αλληγορίας και συχνότερα με την ετεροσημία, την ανατροπή της σκηνοθεσίας, υιοθετούν το φανταστικό και το υπερβατικό, μεταξύ άλλων, για τη συνύπαρξη με το αρχέγονο τραύμα. Επιμένουν στη βία, στην απώλεια, στο πένθος, αλλά και στην ελπίδα και στην αγάπη με εικόνες καταστροφής σε μολύβδινους ουρανούς, ναυαγίων σε μανιασμένες θάλασσες, άγριας εκμετάλλευσης αλλά και τρυφερότητας σε στεριές γόνιμες. Μ’ ένα ευρύ δίκτυο αναφορών, συνομιλιών και αντικατοπτρισμών, με διαρκείς αντιμεταθέσεις ανάμεσα στη μεταφορά και στην κυριολεξία πολιορκούν από νέες απρόβλεπτες (μυθικές) ατραπούς τη σημερινή κατάσταση των πραγμάτων προτείνοντας σε συνδυασμό τόσο με την πρωταρχική μητέρα Γη όσο και με την πολυσημία του τίτλου της συλλογής ένα εκρηκτικό, κοσμογονικό και οργανωμένο μυθοπλαστικό σύμπαν.

Οι τρεις μονόλογοι του Πρώτου (Ι) Μέρους διερευνώντας την πολυσημία του Νερού αναθέτουν τον λόγο στη Θεσσαλή πριγκίπισσα Τυρώ, στον ποταμό Σκάμανδρο και στη Δαναΐδα Υπερμνήστρα σε σκηνοθεσίες απειλητικές, θανατηφόρες ή ανακουφιστικές και ζωογόνες˙ ως υλικό ονείρων, υγρό τάφο, εξαγνιστική κολυμβήθρα, σήμα των ιστοριών και της Ιστορίας, το Νερό κυριαρχεί στους λόγους των μορφών.

Το πολυπρόσωπο Δεύτερο (ΙΙ) Μέρος, αυξημένο με γεωμετρική πρόοδο από το πρώτο, αναδεικνύει ως κεντρικό πρωταγωνιστή τον Ήφαιστο, τον μέγα οπλουργό και κατασκευαστή της θαυμαστής ασπίδας του Αχιλλέα με τις εννέα σκηνές στους ομόκεντρους κύκλους της. Για τον λόγο αυτό oι μυθικές μορφές που πρωταγωνιστούν ξεφεύγουν από τα στενά όρια που τους αναλογούν σε κάθε σκηνή της ασπίδας, στέκονται ολοζώντανες απέναντι από τον θεό της Φωτιάς για να ξετυλίξουν εμπειρίες του πολύπαθου βίου οδηγώντας εντέλει τον τεχνίτη σε αναστοχασμούς για τα δεδομένα, τους όρους και τις προϋποθέσεις της αναπαράστασης.

Το Τρίτο (ΙΙΙ) Μέρος ολοκληρώνοντας επιστρέφει στην αρίθμηση της αρχής και χαράσσει με την Τρωαδίτισσα Λαοδίκη, την Σπαρτιάτισσα Ερμιόνη και με τις επτάστερες αιθέριες Πλειάδες ιλιγγιώδεις διαδρομές με τις ενδιάμεσες αιωρήσεις τους από τα έγκατα του Άδη έως τους καταστερισμούς του Ουρανού.

Bu çalışma, sosyal sorumluluk projelerinin eğitim üzerindeki etkisini öğretmen görüşleri doğrultusunda incelemektedir.   Araştırma bulguları, bu projelerin öğrencilerin sosyal, duygusal ve akademik gelişimlerine olumlu katkı sağladığını göstermektedir. Özellikle empati, sorumluluk bilinci, iş birliği ve iletişim becerilerinin geliştiği vurgulanmaktadır. Ayrıca projelere katılan öğrencilerin özgüvenlerinin arttığı ve daha sosyal bireyler hâline geldikleri belirlenmiştir. Öğretmenler, en çok dezavantajlı gruplara yönelik projelerden etkilendiklerini ifade etmiştir. Toplumsal düzeyde ise bu çalışmaların dayanışma, yardımlaşma ve hoşgörü gibi değerleri güçlendirdiği görülmektedir. Bununla birlikte, okullarda sosyal sorumluluk projelerine yeterince önem verilmediği ve daha çok akademik başarıya odaklanıldığı da belirtilmektedir.

This study aims to examine and evaluate the development process of Turkish archaeology within the time period between 1923, when the Republic of Turkey was founded, and 2023, when the 100th anniversary of the Republic was celebrated. First, after briefly addressing the history of Turkish archaeology, the general characteristics of Turkish archaeology during the Early Republican period, along with the institutions, innovations initiated during this period, and important figures, are discussed. The developments in the field of archaeology during the period when the Republic began to develop (1950–1980) and from 1980 to the present are examined and evaluated in chronological order, within the scope of cultural, educational, and museological activities, as well as laws on the protection of antiquities—our cultural heritage—and efforts to prevent the smuggling of antiquities.

This is a qualitative case study of a midwestern United States educator's journey to learn and implement social-emotional learning (SEL) in an economically disadvantaged, public school district, the infrastructural challenges that she faced, and the design she was able to implement when these infrastructural challenges were removed. This case study unwraps a teacher learning story that highlights her perceptions of systemic pathways for SEL implementation as well as challenges, such as standardized testing, educational bureaucracy, and unmet child welfare needs.

Новітні читання та трансформують процес технологіїсприйняття художнього тексту. Цифрові формати, гіпертекст, мультимедійні елементи та інтерактивні можливості змінюють традиційні стратегії взаємодії читача з літературним твором. У роботі розглядаються когнітивні аспекти рецепції літератури в цифровому середовищі, зокрема порівняння друкованих і електронних текстів, цифрових вплив також а технологій на процеси розуміння та інтерпретації.
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FALL-WINTER 2025 CAMOC MUSEUMS OF CITIES REVIEW decolonising museums of cities + the potential and the reality + challenges and lessons learned + rethinking colonial buildings and monuments + legacies for Indigenous and enslaved people + disability justice + control of historical narratives

The study is anticipated to delve into the evolving interface that subsists among Teaching English to Speakers of Other Languages (TESOL) and multiliteracies in the light of textbook practices in Pakistan. Grounded on the qualitative descriptive approach, it is intended to review key works to decode the origin and definition of multiliteracies, TESOL and their relevance and implications in pedagogical practices. In addition, the study features global insight and a multiliteracies framework as a theoretical expansion to uncover how language is practised and reshaped by multiliteracies. Through an interpretive approach, it underscores the gap in Pakistani TESOL practices, which subsists in textbooks and accentuates the prospects for fostering cultural and multi-modal specific approaches in syllabus design. The study concludes that through bringing into line multiliteracies practices in the local syllabus, a transformative shift can be materialised within Pakistani TESOL practices.

The paths taken by visitors in museums influence what they see, do, learn, and experience. Poorly designed museums can lead to missed goals and opportunities. In this article, I critically review visitor studies published since the 1930s to evaluate explanations for visitor path choice in museums, namely, the location and attractiveness of displays, exhibits, and entrance and exit doors; spatial layout of exhibitions, galleries, and museums; cerebral lateralization of brain function; learning and cultural norms; optimality models of behavior; and the museum experience (e.g., visitor agenda, motivation). I discuss wayfinding aids including new technologies such as digital signage, indoor location technology, mobile access to wayfinding information, and Artificial Intelligence. Suggestions are made for understanding path choice and enhancing wayfinding in museums. This is an open access article under the terms of the Creative Commons Attribution License, which permits use, distribution and reproduction in any medium, provided the original work is properly cited.

Dilucu Sınır Kapısı'nın açılmasının yanı sıra Iğdır'ın il olmasının ardından idari açıdan değişmesi, göçler ve sonrasında buna eşlik eden bir dizi gelişmeler, bölgenin ekonomik, sosyal ve kültürel vb. dokusunu büyük ölçüde değişim ve dönüşüme uğratmıştır. Diğer taraftan, Dilucu Sınır Kapısı'ndan sağlanan sınır ticaretiyle yöre halkının refah seviyesi yükselmiştir; ancak gerek Türkiye'nin gerekse Nahçıvan Özerk Bölgesi'nin sınır ticaretine yönelik olarak yaptığı yeni düzenlemeler ve uygulamalar sınır ticareti kazanımlarının uzun soluklu olmasını engellemiştir. Çalışmada Dilucu Sınır Kapısı'nın Iğdır üzerindeki sosyo-ekonomik yapısı ile mekan üzerindeki etkileri incelenmektedir. Çalışmanın veri kaynaklarını bu konuda daha önce yapılmış çeşitli araştırmalardan ve Türkiye İstatistik Kurumu, Dilucu Gümrük ve Gümrük Muhafaza Müdürlüğü, Iğdır Ticaret ve Sanayi Odası ile Iğdır Belediyesi'nden temin edilen bilgiler oluşturmaktadır.

BREVE STORIA DELLA PITTURA MURALE • La storia della pittura murale ha inizio con la storia dell'uomo il quale già nella preistoria per motivi propiziatori dipingeva nelle pareti delle grotte dove viveva scene di caccia, figure di animali ed impronte di mani. Celeberrime sono le pitture rupestri di Altamira in Spagna e di Lascaux in Francia. In Egitto esistono magnifiche realizzazioni pittoriche realizzate due millenni prima di Cristo, ma non si tratta ancora di affresco, sono pitture realizzate con colori a tempera su uno strato di calce o gesso e l'ambiente estremamente asciutto ha permesso a queste opere di arrivare fino ai nostri giorni. Esempi di affreschi si ritrovano sia nella civltà greca che in quella etrusca ma è in epoca romana che si sviluppa e si diffonde questa tecnica e sono famose le pitture di Pompei e della Domus Aurea a Roma e scrittori di quell'epoca come Vitruvio e Plinio descrivono nei loro libri quali sono le tecniche ed i materiali da utilizzare nella realizzazione degli intonaci e dei colori. Successivamente l'affresco è utilizzato per le raffigurazioni cristiane nelle catacombe e nel medio evo si ha la diffusione di questa tecnica pittorica in particolare per rappresentare scene sacre all'interno delle chiese. Giotto è probabilmente il più noto pittore di questa epoca e le sue opere sono a Firenze, Padova ed Assisi. A Siena affrescavano Simone Martini e Ambrogio Lorenzetti. Il rinascimento è l'epoca in cui la pittura ad affresco ci ha lasciato capolavori assoluti come la Cappella Brancacci dipinta da Masaccio, il ciclo della Vera Croce di Piero della Francesca ad Arezzo ed altre sue opere, la Cappella Sistina dipinta da Michelangelo a Roma ed altri cicli di pittori come Raffaello, Signorelli, Vasari a Firenze, Urbino, Orvieto, Roma, Arezzo, i Carracci a Bologna, Mantegna a Mantova e Luca Giordano a Napoli. Si noti come non citiamo tra i grandi affrescatori Leonardo da Vinci ma il fatto è che l'artista compiva esperimenti tecnici sulle sue pitture e solo la "Ultima cena" di Milano, per quanto rovinata, è l'unica sua opera murale giunta fino a noi. Dalle chiese la pittura ad affresco si sposta anche nei palazzi civili e delle grandi famiglie e prosegue nei secoli successivi la sua diffusione. Alcuni grandi pittori, famosi per le dimensioni notevoli delle loro pitture sono stati Pietro da Cortona, Andrea Pozzo, il Veronese e Giovan Battista Tiepolo. Tra l'ottocento ed il novecento oltre alla pittura si usa molto la decorazione delle pareti e non solo quelle degli edifici delle persone più ricche ma anche le abitazioni più modeste. Pittori e decoratori tra XIX e XX secolo che hanno lasciato soprattutto in Toscana molte realizzazioni sono Luigi Ademollo e Galileo Chini. Nei giorni nostri l'affresco e la pittura murale non sono molto utilizzati anche se esistono alcune realizzazioni proprio in Toscana ad opera del colombiano Fernando Botero a Pietrasanta (LU) e Keith Haring a Pisa. Proprio quest'ultimo, un giovane artista statunitense scomparso prematuramente, rappresenta una nuova espressione della pittura murale chiamata graffitismo che si discosta però dalla tecnica dell'affresco per l'uso di colori di sintesi e spray

This article provides the results of a pragma-linguistic investigation conducted on journalistic and informative material following the proclamation of Agrigento as the Capital of Culture 2025. The collected data can be classified into three types: 1. Official and institutional communications; 2. Protest communications; 3. Private complaints against the protests.