Picturing the nation : The Celtic periphery as discursive other in the archaeological displays of the museum of Scotland

Using the archaeological displays at the Museum of Scotland in Edinburgh, this paper examines the exhibition as a site of identity creation through the negotiations between categories of same and Other. Through an analysis of the poetics of display, the paper argues that the exhibition constructs a particular relationship between the Celtic Fringe and Scottish National identity that draws upon the historical discourses of the Highlands and Islands of Scotland as a place and a time 'apart'. This will be shown to have implications for the display of archaeological material in museums but also for contemporary understandings of Scottish National identity.

Discourses of regeneration in early twentieth-century Britain : from Bedlam to the Imperial War Museum

This paper examines the building that presently houses the Imperial War Museum, investigating the transformation of the archetypal ‘mad space’ of the Bethlem Royal Hospital into what has been described as the ‘biggest boy’s bedroom in London’. Following recent concerns in human geography with Imperial cities, it highlights the differing ways in which this transformation embodies a number of themes of degeneration and regeneration in early twentieth-century Britain.

Constructing the identity of a nation : the tourist gaze at the Museum of Scotland

In an era of global instability and crises of national identity, the role of heritage tourism in creating images of national identity has become an important area for research. This article considers the role of heritage tourism in constructing national identity in the nation of Scotland through the lens of the Museum of Scotland. It describes the findings of qualitative research undertaken with potential and actual target consumers to the Museum of Scotland. Three research questions were addressed: Does the Museum of Scotland construct (1) a vision of a `new' Scotland? (2) a symbol of a `real' Scotland? (3) a collective identity of Scotland? The findings suggest that heritage visitors actively identify through their gaze, constructing multifarious meanings of national identity that are dynamic rather than static.

The colonial museum and UNESCO in the Asia-Pacific region

This thesis is an account of the role of UNESCO in promoting museology in the Asia-Pacific region after World War II. It shows how the strategy to advance cross-cultural mutual understanding through museum programmes built upon the British colonial museum system and facilitated new professional networks.

Defining national identity? Visiting the architectural spaces of the Museum of Scotland

National Cultures construct identities by producing meanings about the nation with which we can identify, meanings which are contained in the stories which are told about it, memories which connect its present within its past, and images which are constructed of it. A museum, the repository of a nation’s culture, which connects the past to the present through recounting stories about the artefacts of past cultures is clearly significant in representing the culture of a nation.

This paper explores the architectural spaces of the new Museum of Scotland, which opened in Edinburgh in November 1998. The museum has opened at a crucial time in Scottish history. The Scottish cultural renaissance is manifested in the increase in cultural production and call for Scottish cultural institutions. Parallel to this renaissance are political developments with the re-creation of a Scottish Parliament in 1999. When the idea of ‘Scotland’ is itself in a state of flux, the stories of the nation told in the museum, which attempt to give a sense of location, a connection between the individual and the nation are especially important.

Thus, issues of identity and ‘self’ are crucially important in understanding the contemporary museum. Within this, the relations between the production of these narratives and their consumption by the public are little understood. The majority of studies have concentrated, although not exclusively, on the production of museum displays, primarily with the "politics and poetics" of display. This paper analyses the relationship between producer and consumer within the Museum of Scotland, attempting to reconnect the forces of production and consumption. In doing so, it focuses primarily on the differing conceptions of the ability of the Museum to be able to narrate the nation.

Based on interviews both with museum staff and with visitors to the museum, it argues that an understanding of the relationship between the museum and Scottish national identity can only be considered through an understanding of the tension between the producers’ intentions and the way in which consumers conceptualise the museum as a space for "telling the nation".

The National Museum of Scotland : a symbol for a new Scotland?

The National Museum of Scotland (forthwith 'Museum') opened to critical acclaim on St Andrew's Day 1998 (see McKean 2000). The timing of the opening was culturally and politically symbolic, taking place on the patron saint of Scotland's day, whilst falling between the devolution referendum for, and the opening of, the reinstated Scottish Parliament. The museum offers a representation of Scotland, one which is negotiated by its creators and visitors alike. Given that national identity is a slippery concept subject to fluidity and change (Hall 1992), the image of stability and authority of a museum, which has been compared to the reification of a church (Horne 1984), offers us an interesting site for developing our understanding of how national identity is constructed.

‘On the influence of the scientific societies of New Zealand on the character of the nation’ - Collecting and identity at the Hawke’s Bay Philosophical Institute museum, 1874–1899

This paper explores the collection and collecting activity of the Hawke’s Bay Ph ilosophical Institute of Napier, New Zealand. It examines the development of the Institute’s museum and considers the motivations, intentions and interests of the collectors and their activity within the broader scientific and museum context. The work of two significant collectors is examined in detail: William Colenso, FLS, FRS, missionary, explorer and enthusiastic botanist, who engaged in over fifty years of correspondence and botanical exchange with Sir Joseph Hooker at Kew Gardens; and Augustus Hamilton, the curator of the museum who later became Director of New Zealand’s national collection at the Colonial Museum in Wellington. Through consideration of the Institute’s activities during the period 1874 to 1899, it is proposed that within the collection, the emergence of a distinct local identity can be discerned, during the early colonial period of Hawke’s Bay.

Creating a dialogue across time in Athens : the new Acropolis museum and the Parthenon

A visit to the New Acropolis Museum in Athens, Greece, in late June 2010 set in train a number of questions and inspired a research project to begin to unravel something of the complex relationship between ancient and modern architecture on the Athenian Acropolis. Research was guided by the question: how does the contemporary museum, designed by Swiss born architect Bernard Tschumi in collaboration with local Greek architect Michalis Photiadis relate to the ancient Acropolis and the fifth century BC Parthenon, whose sculptures it was to house? A critical literature review was augmented by design analysis and field experience. This paper documents the resulting critical thematic investigations of the Parthenon, the Acropolis and the New Museum through siting, materiality and light, alignment, visual connections, through exploitation of the unique Attic light, orchestrated movement and considered juxtapositions. Research has revealed that Tschumi’s deliberate strategy of creating a dialogue between his building and the ancient monuments holds the key to his design intent, to creatively exploring contemporary architecture at the edge of such a physically and culturally dominant ancient plateau.

Students' construction of a virtual museum for multimodal meaning-making : the case of a pilot intervention

This paper evaluates a pilot design research intervention of 12-13 year old Secondary (Middle) students in Singapore constructing a virtual museum within an English Language (EL) curriculum which seeks to engage students through the infusion of authentic, rich multimodal stimuli. 78 students from two classes designed the layout of museum galleries based on their chosen themes, sourced and created multimodal artifacts , and presented their proposals and galleries to an imagined external audience and their peers. The research design and methodology, processes and factors driving the design and implementation of the project are described. Feedback from teachers and students on the benefits and limitations of the study are elicited through semi-constructed interviews, surveys and questionnaire forms. Recommendations to overcome problems identified are proposed.