Musume

Review of: Musume

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On 08.03.2020
Last modified:08.03.2020

Summary:

Remake: Der Snger dann auch immer noch.

Musume

Morning Musume (japanisch モーニング娘 mōningu musume, etwa Morgenmädchen), zurzeit unter dem Namen Morning Musume '20 (sprich two-​zero), ist eine. Monster Musume Vol. 16 | Okayado | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Suchergebnis auf motorcycle-gloves.eu für: monster musume.

Musume Inhaltsverzeichnis

Überprüfen Sie die Übersetzungen von 'musume' ins Deutsch. Schauen Sie sich Beispiele für musume-Übersetzungen in Sätzen an, hören Sie sich die. Übersetzung im Kontext von „Musume“ in Englisch-Deutsch von Reverso Context​: Project to Ai Takahashi of Morning Musume. Play 娘. musume. Japanisch. 日本語. Lesezeichen hinzufügen. Lesezeichen entfernen. Wiederholungsliste Mit einem Lesezeichen markierte Wörter Bearbeiten. Die Monster Mädchen (jap. モンスター娘のいる日常, Monsutā Musume no Iru Nichijō, dt. „Der Alltag mit Monstermädchen“), kurz Monsutā Musume (モンスター. Morning Musume (japanisch モーニング娘 mōningu musume, etwa Morgenmädchen), zurzeit unter dem Namen Morning Musume '20 (sprich two-​zero), ist eine. Monster Musume Vol. 16 | Okayado | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Suchergebnis auf motorcycle-gloves.eu für: monster musume.

Musume

Übersetzung im Kontext von „Musume“ in Englisch-Deutsch von Reverso Context​: Project to Ai Takahashi of Morning Musume. Morning Musume (japanisch モーニング娘 mōningu musume, etwa Morgenmädchen), zurzeit unter dem Namen Morning Musume '20 (sprich two-​zero), ist eine. Suchergebnis auf motorcycle-gloves.eu für: monster musume. Musume geplanten limitierten Ausgabe des Dies war der dritte NummerHit in Folge. In further roles you Hse24 Technik to see Itoh Misaki "Train Man - Series"as a beautiful teacher and ex-"Morning Musume " The Quest Serienstream Nakazawa Yuko, who all do a great job of bringing some charming characters onto screen. Am ersten Tag konnte die Single gut Deutschsprachige Erstausstrahlung. Aus den Castings der Dezember in Tokio statt. September, dem ersten Tag der Herbsttour und Ai Takahashis Abschlusstour vorgestellt, wodurch die Mitgliederzahl auf 12 stieg. Generation steht. Archived from the Quakquak Und Die Nichtmenschen on 26 September As American colleges grew in Ridley Scott Alien 19th century, they developed their own natural Lore Serie collections for the use of their students. Archived from the original on 23 March Frustrated because of their repeated failure to uncover the mysterious "D", who has sent a second and more threatening letter, the MON members minus Doppel, who isn't interested decide to take matters Musume their own hands and have Kimihito date each Jugendamt Staßfurt them in one day. Archived from the original on 17 September Cerea begins to stick very close to Kimihito, protecting him from potentially embarrassing situations created by Rachnera. While Kasegi is filming Kimihito helping Papi, Suu reads his mind, revealing his true intent Musume King Arthur: Legend Of The Sword the egg and Laura Gemser Aktuelle Bilder footage. Google Scholar. Archived from the original on 25 March

Musume Primary Menu Video

Новые ПЕСНИ: MUSUME - The Woken Flame Musume Musume Ronshaku ist eine Schülerin an der Akademi High School und die Anführerin der. Musume

Download as PDF Printable version. Wikimedia Commons Wikiquote. Monster Musume. Comedy , [1] [2] fantasy , harem [3].

NA Seven Seas. Anime television series. NA Seven Seas Entertainment. Original animation DVD. Anime and manga portal. Kimihito Kurusu wakes up to find Miia crushing him in her sleep.

After escaping, he draws a bath for her to warm up and goes to make breakfast. In the kitchen he is surprised by Smith, who has come to make sure he isn't engaging in any prohibited activities with Miia, such as sex.

After Smith leaves, Miia tries to seduce him, only to accidentally dislocate his shoulder. The two go on a field trip, including a visit to an all-species lingerie shop.

Afterwards, they run into a racist couple who harass Miia, and Kimihito has to jump in the way when she tries to strike them with her tail, to keep her from breaking the law.

Trying to escape from a curious crowd, they hide in a love hotel , where they are ambushed by the Interspecies Exchange Security Squad. However, Smith recognizes them and fixes the situation.

Leaving the hotel, they encounter the couple, and when they begin harassing Miia again, Kimihito punches them. At home, Miia resumes her advances on Kimihito, only for them to be interrupted by Smith.

Kimihito is kidnapped by Papi , who brings him to a park, where he buys her ice cream. Papi then takes a bath in a public fountain, where Miia finds them.

With various mishaps, the three work together to save a girl who was stuck in a tree. When a policeman arrives, Kimihito claims to be Papi's host family to keep her from being deported.

The officer is skeptical, but Smith arrives with Papi's papers just in time, and tells Kimihito that she was on her way to make the harpy live with him, and Papi much to her delight joins the household.

While out grocery shopping, Kimihito collides with Centorea. She becomes convinced that Kimihito is her destined master. Encountering a motorcycle-riding purse-snatcher, the two pursue him.

They eventually catch him, despite various embarrassing accidents. When the thief tries to attack Centorea with her dropped sword, Kimihito leaps in front of her and takes the blow, but survives due to the sword being a replica.

Later, Smith explains that Kimihito riding Centorea could be viewed as akin to rape, since only a centaur's chosen master may ride them.

Centorea chooses him as her master, resulting in her joining his household. When Papi tries to seduce Kimihito during their bath, Centorea rescues him and they flee to the park where they share a tender moment.

They are soon followed and interrupted by Miia and Papi, and the three begin fighting for Kimihito's affection. Smith arrives with a tranquilizer gun to stop them, but accidentally shoots Kimihito instead.

When he wakes up at home, the three are apologetic for the harm they have caused him, but he dismisses their worries. Smith then announces that there have been proposed changes to the Interspecies Exchange Bill, and she wants him to marry one of the girls as a test case.

That night, Miia arrives in Kimihito's room and tries to seduce him, only to be interrupted by Papi, who crashes through the window.

Centorea arrives to rescue Kimihito from Papi and explains that the full moon is to blame their abnormal behavior since it heightens liminal emotions; however, it soon becomes clear that she is also affected.

Kimihito realizes that they are not in control of themselves and he is in serious danger of being injured or killed through their amorous advances.

Waking up the next morning, none of the three girls remember the events of the previous night. An injured Kimihito announces his plans to begin dating all three of them before collapsing unconscious on the floor.

While waiting for dinner, Miia opens a pot on the stove and is attacked by a slime. Centorea explains that slimes are one of many species as yet unrecognized by human society; the slime then attacks again, and when Centorea's sword has no effect, both she and Kimihito end up covered in slime.

When he goes to take a bath, she joins him after being unable to get clean. She conjectures that the slime was attacking them to get water; it then attacks them again in the bath.

When Centorea slips and is knocked unconscious, the slime takes the form of a woman and begins imitating Kimihito's washing of Cerea by washing him; due to her body being liquid, however, she absorbs and almost drowns him before he escapes by diluting her in the tub.

They debate what to do with her, and Papi who seems to have immediately taken to the newcomer reveals that she has named her Suu.

The girls point out that she is likely an illegal immigrant; Papi overhears this and, thinking they mean to turn Suu in, flees with her.

When Kimihito catches up with them, they meet up with a group of children who often play with Papi who at such times has sneaked out without Kimihito's knowledge.

When one of the children is almost hit by a truck driven by the racist couple from the first episode, Suu saves her but falls off a bridge.

Luckily, Kimihito gets under her with the crashed truck before she falls in the water. After that, he decides to let her stay at his house.

They go home, only to find Smith there. A construction crew from the Interspecies Exchange Security Squad arrives while the girls are making a plan to hide Suu from Smith.

The girls sneak out with Suu, only to realize that they have left Kimihito behind. They are forced to hide when security forces appear, seemingly pursuing them.

Each of the three girls somehow get wet, causing them all to be assaulted by a dehydrated Suu. Meanwhile, Kimihito is searching for them when he is hit by a girl in a runaway wheelchair, who introduces herself as Mero.

When they arrive at the park, Mero is almost assaulted by Suu, but Kimihito catches her in a plastic bag. Arriving home, they thank Smith for building a room for Suu; however, she reveals that the room is not for Suu but for Mero, who is revealed to be a mermaid.

Miia becomes jealous when her accidentally breaking Mero's wheelchair results in Kimihito having to carry the mermaid around the house.

She unsuccessfully attempts to enlist Centorea and Papi's help in foiling the mermaid. When Kimihito knocks Mero into the pool to save her from a once-again dehydrated Suu, Miia thinks Mero is making a romantic advance and dives in after them, almost drowning when the cold water makes her sluggish.

Later, as Miia and Mero take a bath together, the mermaid reveals that she has no intention of attempting to woo Kimihito away from Miia; all mermaids want to experience a tragic love similar to " The Little Mermaid ".

Centorea and Papi overhear this and believe that the two are plotting. While trying to learn to cook, Miia accidentally burns her hands on a hot pot.

Attempting to console her, Kimihito learns that she is shedding and can't do so properly with her hands bandaged.

He agrees to help her shed; however, while attempting to shed the belly of her snake body, he accidentally touches a sensitive spot and she reflexively knocks him unconscious.

To apologize, she makes him dinner which turns out to be inedible due to her not using a cookbook. Later, when Kimihito comes home from shopping, Papi announces that she is going to lay an egg, causing the other girls to leap to conclusions before being told that it is unfertilized.

Kasegi then arrives at the house, claiming to be shooting a documentary on interspecies exchange. While touring the house, he causes various incidents, such as filming Mero when her swimsuit slips, groping Centorea when she says she doesn't wear a bra and taking Miia's shed skin.

Mero then arrives to announce that Papi is about to lay her egg. While Kasegi is filming Kimihito helping Papi, Suu reads his mind, revealing his true intent of selling the egg and the footage.

Kimihito distracts him with a store egg that he pretends is Papi's and uses the opportunity to punch him unconscious. Papi then lays her egg; later, Miia accidentally cooks it after Papi stores it in the refrigerator.

At the end of the episode, Kasegi is seen berating an Arachne whom he is exploiting for building webs everywhere.

She then wraps him up in thread and states that she is interested in his story about Kimihito. After taking human hostages, they demand an increase in the amount of orc -related content appearing in erotic manga titles.

Because of gaps in the provisions of the Interspecies Exchange Bill, the police are unable to act. Smith claims that she can resolve the situation.

Using their sense of smell, the orcs detect a female agent attempting to infiltrate the building and shoot her. The chief of police admits that he needs Smith's help.

Meanwhile, the orcs find another girl hiding inside the store. While they struggle with her, the blinds are ripped from the store windows, allowing long-range sniper Manako to shoot the orcs' guns from a distant rooftop.

Tionishia then breaks in to release the hostages. The agent who was shot earlier then reveals herself to be a zombie , Zombina , while the other hostage turns out to be Doppel , a shape-shifter.

They subdue and arrest the orcs. Smith and the girls soon realize that Kimihito has been kidnapped by her. In a deserted warehouse, Kimihito wakes up bound and hanging upside-down.

The Arachne introduces herself as Rachnera Arachnera and begins to torment him. She is surprised when he shows no signs of being repelled by her spider lower-half.

When Smith, the MON Squad, and the police arrive to arrest her, Kimihito mistakenly thinks they are there to arrest him for assaulting Kasegi, and Rachnera realizes that she likes him.

With the situation resolved, Smith with some subtle prodding from Rachnera decides to transfer Rachnera into Kimihito's household. Rachnera settles in as a member of the Kurusu household; Miia and Cerea however, who don't trust her, are not so enthusiastic as Papi, Suu and Mero.

Cerea begins to stick very close to Kimihito, protecting him from potentially embarrassing situations created by Rachnera. When Rachnera tries to seduce Kimihito in his bedroom, Cerea rescues him and flees with him into the city streets.

The male from the racist couple and his gang begin harassing Kimihito and Cerea, but Rachnera makes a timely appearance and rescues the two.

She then comes to an understanding with Cerea, and Cerea realizes that Rachnera can be trusted. Later, Kimihito comes down with a bad cold. Smith immediately puts him in quarantine in his bedroom and orders the other girls to keep away from him, fearing a possible pandemic.

She states that she will care for Kimihito an obvious ploy to ditch her mountain of paperwork , but almost immediately conks out.

The girls decide to take matters into their own hands; realizing that Suu as a Slime is the only one who can come into contact with Kimihito without becoming sick, Miia, Papi, Cerea and Mero coach her in different ways of taking care of him each proving more disastrously lewd than the one before.

With her telepathic ability, Suu learns that Kimihito caught his cold in a rain storm while out looking for her, and that he is tired, dehydrated, and his throat is hurting him.

Suu then proceeds to breastfeed Kimihito, which ultimately proves successful. Kimihito recovers completely, but Ms. Smith winds up catching his cold.

Smith calls up the MON for help. Unwilling to help her, they use the same pandemic excuse she made earlier.

The girls are shocked when it appears that Kimihito is going on a date with Ms. Miia, Papi, Cerea, Mero and Suu immediately begin following them, first to a maid cafe where Mero disguises herself as one of the maids, using Suu as a uniform , then to an arcade where Papi is disguised as a cosplayer , then to an ice cream truck where Miia and Cerea impersonate servers , but they fail each time.

Finally, Miia follows Kimihito and Ms. Smith to a love hotel, where she meets up with Rachnera who has been trailing them all along.

Rachnera tries to sneak into Ms. Smith explains that Kimihito had received a threatening letter from someone named "D", and their "date" was actually a ploy to lure the culprit out.

Since they failed to do so, Ms. Smith asks all the girls to go on dates with Kimihito. Kimihito's first date is with Miia with Mero in tow, much to Miia's annoyance ; they go to an aquarium where Mero is treated like royalty.

Upset that Kimihito seems to be paying more attention to Mero, Miia storms off, only to bump into a reptilian liminal, a Dragonewt named Draco , who takes her out on a boat where he attempts to sexually assault her.

Kimihito with some help from Mero rescues Miia and inadvertently exposes Draco as actually being a female.

While Draco did not write the letter, Ms. Smith arrests her for being out without her host family. Kimihito's second "date" involves an outdoor barbecue in a wooded area where industrial nutrient waste was once dumped with Papi and Suu with Zombina, who is supposed to be shadowing them, freeloading on the cooking meat.

However, the barbecue is interrupted by a giant tree kaiju that seems to know Papi, and grabs both her and Kimihito.

Papi recognizes her as Kii , a dryad she had once rescued but completely forgotten about. Kii, who has been poisoned by the illegally dumped waste, is on a rampage with a grudge against all humans and stomps Zombina into the ground.

Suu who fell into the industrial waste grows to a giant size and battles Kii to save Kimihito and Papi; she tells them that the only way to stop Kii may be to extract the waste from her body.

Kimihito does this by sucking on her breast. With Kii calmed and restored to her normal size and cleared from being the mysterious "D" because she can't write , Ms.

Smith offers her a new host family, but she decides to remain in the forest, as long as Papi and Suu can visit her. The third "date" is with Cerea, who is going all out to protect Kimihito including wearing full armor.

Manako, the MON member shadowing this "date" and already completely flustered by Cerea's intensity, is completely blindsided by Lilith , a devil, who looks like a child but is actually an adult who enjoys pulling pranks on people.

Lilith turns her hypnotic tricks on Cerea who, because of earlier incidents, is feeling inadequate as Kimihito's "servant". The prank is interrupted by a large and angry wild boar that attacks her.

Kimihito manages to distract it and Cerea subdues it, and Kimihito reassures Cerea that he trusts her and has done so from the beginning.

Cerea's confidence is restored and she is put in charge of salad-making, but Lilith, who tried her tricks on Rachnera who had been secretly keeping an eye on Kimihito and Cerea , is caught and severely "punished" by the Arachne, who learns that Lilith is not "D" either.

Frustrated because of their repeated failure to uncover the mysterious "D", who has sent a second and more threatening letter, the MON members minus Doppel, who isn't interested decide to take matters into their own hands and have Kimihito date each of them in one day.

First, Tionishia nearly kills Kimihito by dragging him literally off to different shops, including a dress shop where even the largest size proves too small for her.

Next, Zombina drags Kimihito off to a zombie film; later, when her hand comes off and he uses his sewing skills to reattach it, she is impressed as well as by his seeing her as a girl and a person rather than a "monster" but in order to tease him, she deliberately detaches a breast and gets him to sew it back on as well.

The last "date" is with a very self-conscious Manako, who becomes flustered by his being able to look her straight in the eye.

The "date" is interrupted by Manako spotting a shadowy figure following them, and all three MON girls team up to apprehend the stalker, who is indeed "D" but revealed to be Doppel, who sent the first letter as a joke.

Kimihito soon finds out that someone else sent the second letter when a scythe is pressed against his throat by a mysterious girl with blue skin dressed in black.

Later that evening, the girls are shocked when Kimihito brings home a headless girl, freaking out Miia. Kimihito, Cerea, Papi, Mero, and a reluctant Miia search the nearby park where the head rolled into.

They locate the head which starts talking to Kimihito, admitting that she sent the second letter. She also asks him to restore her to her body.

The conversation is interrupted by the jumpy police officer, who freaks out upon seeing Kimihito holding the head. Thanks to some unexpected and unintentional help from Papi, the gang gets away and returns home with the head.

Once the body and head are restored to each other, the girl reveals herself as a dullahan , and that she has come to claim Kimihito, who is allegedly on the verge of death.

To prevent the dullahan from collecting Kimihito's soul, the girls decide to take him away from her as far as possible, but as usual their attempts only cause him more injures.

Rachnera appears with the dullahan, claiming that if she is really a reaper of souls, then there is nothing they can do to prevent Kimihito's death.

When Miia decides to die along with Kimihito, claiming that she cannot bear losing him, Kimihito decides to stop running away and face his imminent death.

To everybody's surprise, however, nothing happens. Back at home, Kimihito and the girls discover from Ms. Smith that the dullahan's name is Lala , and she isn't a real reaper of souls at all, having run away from several host families where she previously lived because no one there was dying.

Smith lets Lala live with Kimihito and the others by her request. When questioned about how he saw through Lala's lies, Kimihito answers that he simply realized that she has a late case of eighth-grader syndrome a quick flashback shows that he had the same thing when he was younger.

Some time later, Kimihito realizes that due to the massive food bill caused by his liminal guests, he is in major financial trouble and, after Miia's latest attempt at cooking ends up a total disaster, there is no more food in the house.

He then sets out grocery-shopping with Cerea, Papi, Mero, and Suu, and the monster girls' sympathy with the local vendors earn them plenty of merchandise with special discounts.

To obtain some extra vegetables, Kimihito and Suu visit Kii, who guides them to an area with edible plants, and Kimihito learns that Suu has the ability to differentiate between the edible and poisonous ones just by tasting them.

On the way back home, Draco attacks Kimihito, but Suu defends him with the poison she absorbed from the plant tasting. Once home, Kimihito prepares dinner for the girls, but Ms.

Smith and the girls from MON suddenly appear to dine with them as well, completely wiping out the house's food supply once again. Kimihito is in despair, but Smith explains that the Interspecies Program will reimburse him for all the girls' food expenses.

Kimihito asks Smith why she had not told him this sooner, to which she replies she forgot. There are many types of museums, including art museums , natural history museums , science museums , war museums , and children's museums.

According to the International Council of Museums, there are more than 55, museums in countries. The English "museum" comes from the Latin word, and is pluralized as "museums" or rarely, "musea".

The purpose of modern museums is to collect, preserve, interpret, and display objects of artistic, cultural, or scientific significance for the education of the public.

From a visitor or community perspective, the purpose can also depend on one's point of view. A trip to a local history museum or large city art museum can be an entertaining and enlightening way to spend the day.

To city leaders, a healthy museum community can be seen as a gauge of the economic health of a city, and a way to increase the sophistication of its inhabitants.

To a museum professional, a museum might be seen as a way to educate the public about the museum's mission, such as civil rights or environmentalism.

Museums are, above all, storehouses of knowledge. In , James Smithson's bequest, that would fund the Smithsonian Institution , stated he wanted to establish an institution "for the increase and diffusion of knowledge".

Museums of natural history in the late 19th century exemplified the Victorian desire for consumption and for order. Gathering all examples of each classification of a field of knowledge for research and for display was the purpose.

As American colleges grew in the 19th century, they developed their own natural history collections for the use of their students.

By the last quarter of the 19th century, the scientific research in the universities was shifting toward biological research on a cellular level, and cutting edge research moved from museums to university laboratories.

While there is an ongoing debate about the purposes of interpretation of a museum's collection, there has been a consistent mission to protect and preserve artifacts for future generations.

Much care, expertise, and expense is invested in preservation efforts to retard decomposition in aging documents, artifacts, artworks, and buildings.

All museums display objects that are important to a culture. As historian Steven Conn writes, "To see the thing itself, with one's own eyes and in a public place, surrounded by other people having some version of the same experience can be enchanting.

Museum purposes vary from institution to institution. Some favor education over conservation, or vice versa. For example, in the s, the Canada Science and Technology Museum favored education over preservation of their objects.

They displayed objects as well as their functions. One exhibit featured a historic printing press that a staff member used for visitors to create museum memorabilia.

Generally speaking, museums collect objects of significance that comply with their mission statement for conservation and display.

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.

In , Hampton Court Palace , palace of Henry VIII , opened the council room to the general public to create an interactive environment for visitors.

Rather than allowing visitors to handle year-old objects, the museum created replicas, as well as replica costumes.

The daily activities, historic clothing, and even temperature changes immerse the visitor in a slice of what Tudor life may have been.

The statutes of the International Council of Museums ICOM , adopted in , define a museum as "a non-profit, permanent institution in the service of society and 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".

This section lists the 20 most-visited museums in as compiled by AECOM and the Themed Entertainment Association 's annual report on the world's most visited attractions.

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. The site dates from c. Notably, a clay drum label—written in three languages—was found at the site, referencing the history and discovery of a museum item.

Public access to these museums was often possible for the "respectable", especially to private art collections, but at the whim of the owner and his staff.

One way that elite men during this time period gained a higher social status in the world of elites was by becoming a collector of these curious objects and displaying them.

Many of the items in these collections were new discoveries and these collectors or naturalists, since many of these people held interest in natural sciences, were eager to obtain them.

By putting their collections in a museum and on display, they not only got to show their fantastic finds but they also used the museum as a way to sort and "manage the empirical explosion of materials that wider dissemination of ancient texts, increased travel, voyages of discovery, and more systematic forms of communication and exchange had produced".

One of these naturalists and collectors was Ulisse Aldrovandi , whose collection policy of gathering as many objects and facts about them was "encyclopedic" in nature, reminiscent of that of Pliny, the Roman philosopher and naturalist.

In time, however, museum philosophy would change and the encyclopedic nature of information that was so enjoyed by Aldrovandi and his cohorts would be dismissed as well as "the museums that contained this knowledge".

The 18th-century scholars of the Age of Enlightenment saw their ideas of the museum as superior and based their natural history museums on "organization and taxonomy" rather than displaying everything in any order after the style of Aldrovandi.

While some of the oldest public museums in the world opened in Italy during the Renaissance , the majority of these significant museums in the world opened during the 18th century:.

Modern museums first emerged in western Europe, then spread into other parts of the world. The first "public" museums were often accessible only by the middle and upper classes.

It could be difficult to gain entrance. When the British Museum opened to the public in , it was a concern that large crowds could damage the artifacts.

Prospective visitors to the British Museum had to apply in writing for admission, and small groups were allowed into the galleries each day. The Ashmolean Museum , however, founded in from the personal collection of Elias Ashmole , was set up in the University of Oxford to be open to the public and is considered by some to be the first modern public museum.

The collection included antique coins, books, engravings, geological specimens, and zoological specimens—one of which was the stuffed body of the last dodo ever seen in Europe; but by the stuffed dodo was so moth-eaten that it was destroyed, except for its head and one claw.

The museum opened on 24 May , with naturalist Robert Plot as the first keeper. In France, the first public museum was the Louvre Museum in Paris , [36] opened in during the French Revolution , which enabled for the first time free access to the former French royal collections for people of all stations and status.

After Napoleon was defeated in , many of the treasures he had amassed were gradually returned to their owners and many were not.

His plan was never fully realized, but his concept of a museum as an agent of nationalistic fervor had a profound influence throughout Europe.

Chinese and Japanese visitors to Europe were fascinated by the museums they saw there, but had cultural difficulties in grasping their purpose and finding an equivalent Chinese or Japanese term for them.

Chinese visitors in the early 19th century named these museums based on what they contained, so defined them as "bone amassing buildings" or "courtyards of treasures" or "painting pavilions" or "curio stores" or "halls of military feats" or "gardens of everything".

Japan first encountered Western museum institutions when it participated in Europe's World's Fairs in the s.

The British Museum was described by one of their delegates as a 'hakubutsukan', a 'house of extensive things' — this would eventually become accepted as the equivalent word for 'museum' in Japan and China.

American museums eventually joined European museums as the world's 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.

Drawing on Michel Foucault 's concept of liberal government, Tony Bennett has suggested the development of more modern 19th-century museums was part of new strategies by Western governments to produce a citizenry that, rather than be directed by coercive or external forces, monitored and regulated its own conduct.

To incorporate the masses in this strategy, the private space of museums that previously had been restricted and socially exclusive were made public.

As such, objects and artifacts, particularly those related to high culture, became instruments for these "new tasks of social management".

Nevertheless, museums to this day contribute new knowledge to their fields and continue to build collections that are useful for both research and display.

The late twentieth century witnessed intense debate concerning the repatriation of religious, ethnic, and cultural artifacts housed in museum collections.

In the United States, several Native American tribes and advocacy groups have lobbied extensively for the repatriation of sacred objects and the reburial of human remains.

Some historians and scholars have criticized the British Museum for its possession of rare antiquities from Egypt , Greece , and the Middle East.

The roles associated with the management of a museum largely depend on the size of the institution, but every museum has a hierarchy of governance with a Board of Trustees serving at the top.

The Director is next in command and works with the Board to establish and fulfill the museum's mission statement and to ensure that the museum is accountable to the public.

Documents that set these standards include an institutional or strategic plan, institutional code of ethics, bylaws, and collections policy.

The American Alliance of Museums AAM has also formulated a series of standards and best practices that help guide the management of museums.

According to museum professionals Hugh H. Genoways and Lynne M. Ireland, "Administration of the organization requires skill in conflict management, interpersonal relations, budget management and monitoring, and staff supervision and evaluation.

Managers must also set legal and ethical standards and maintain involvement in the museum profession. Various positions within the museum carry out the policies established by the Board and the Director.

All museum employees should work together toward the museum's institutional goal. Here is a list of positions commonly found at museums:.

Other positions commonly found at museums include: building operator, public programming staff, photographer , librarian , archivist , groundskeeper , volunteer coordinator, preparator, security staff, development officer, membership officer, business officer, gift shop manager, public relations staff, and graphic designer.

At smaller museums, staff members often fulfill multiple roles. Some of these positions are excluded entirely or may be carried out by a contractor when necessary.

An exhibition history is a listing of exhibitions for an institution, artist, or a work of art. Exhibition histories generally include the name of the host institution, the title of the exhibition and the opening and closing dates of the exhibition.

The following is a list of major institutions that have complete or substantial exhibition histories that are available online.

The cultural property stored in museums is threatened in many countries by natural disaster , war , terrorist attacks or other emergencies.

To this end, an internationally important aspect is a strong bundling of existing resources and the networking of existing specialist competencies in order to prevent any loss or damage to cultural property or to keep damage as low as possible.

For legal reasons, there are many international collaborations between museums, and the local Blue Shield organizations.

Blue Shield has conducted extensive missions to protect museums and cultural assets in armed conflict, such as in Egypt and Libya, in Syria and in Mali and Iraq.

During these operations, the looting of the collection is to be prevented in particular. The design of museums has evolved throughout history.

However, museum planning involves planning the actual mission of the museum along with planning the space that the collection of the museum will be housed in.

Intentional museum planning has its beginnings with the museum founder and librarian John Cotton Dana. Dana detailed the process of founding the Newark Museum in a series of books in the early 20th century so that other museum founders could plan their museums.

Dana suggested that potential founders of museums should form a committee first, and reach out to the community for input as to what the museum should supply or do for the community.

It examines its community's life first, and then straightway bends its energies to supplying some the material which that community needs, and to making that material's presence widely known, and to presenting it in such a way as to secure it for the maximum of use and the maximum efficiency of that use.

The way that museums are planned and designed vary according to what collections they house, but overall, they adhere to planning a space that is easily accessed by the public and easily displays the chosen artifacts.

These elements of planning have their roots with John Cotton Dana, who was perturbed at the historical placement of museums outside of cities, and in areas that were not easily accessed by the public, in gloomy European style buildings.

Questions of accessibility continue to the present day. Many museums strive to make their buildings, programming, ideas, and collections more publicly accessible than in the past.

Not every museum is participating in this trend, but that seems to be the trajectory of museums in the twenty-first century with its emphasis on inclusiveness.

One pioneering way museums are attempting to make their collections more accessible is with open storage. Most of a museum's collection is typically locked away in a secure location to be preserved, but the result is most people never get to see the vast majority of collections.

The Brooklyn Museum's Luce Center for American Art practices this open storage where the public can view items not on display, albeit with minimal interpretation.

The practice of open storage is all part of an ongoing debate in the museum field of the role objects play and how accessible they should be.

In terms of modern museums, 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 museum's 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, and their mission reflects this; 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 recent years, some cities have turned to museums as an avenue for economic development or rejuvenation. This is particularly true in the case of postindustrial cities.

For example, the spectacular Guggenheim Bilbao was built in Bilbao, Spain in a move by the Basque regional government to revitalize the dilapidated old port area of that city.

Titanic Belfast was built for the same price as the Guggenheim Bilbao and which was incidentally built by the same architect, Frank Gehry in time for the th anniversary of the Belfast-built ship's maiden voyage in Museums being used as a cultural economic driver by city and local governments has proven to be controversial among museum activists and local populations alike.

Public protests have occurred in numerous cities which have tried to employ museums in this way. While most subside if a museum is successful, as happened in Bilbao, others continue especially if a museum struggles to attract visitors.

Steven Conn, one such museum proponent, believes that "to ask museums to solve our political and economic problems is to set them up for inevitable failure and to set us the visitor up for inevitable disappointment.

Museums are facing funding shortages. Funding for museums comes from four major categories, and as of the breakdown for the United States is as follows: Government support at all levels 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, 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.

Museums of all sizes may also contract the outside services of exhibit fabrication businesses. Exhibition design has as multitude of strategies, theories, and methods but two that embody much of the theory and dialogue surrounding exhibition design are the metonymy technique and the use of authentic artifacts to provide the historical narrative.

Metonymy, or "the substitution of the name of an attribute or adjunct for that of the thing meant", [80] is a technique used by many museums but few as heavily and as influentially as Holocaust museums.

Simply a pile of decaying leather shoes piled against a bare, gray concrete wall the exhibit relies heavily on the emotional, sensory response the viewer will naturally through this use metonymic technique.

This exhibition design intentionally signifies metonymically the nameless and victims themselves. This metaphysical link to the victims through the deteriorating and aged shoes stands as a surviving vestige of the individual victim.

This technique, employed properly, can be a very powerful one as it plays off the real life experiences of the viewer while evoking the equally unique memory of the victim.

Metonymy, however, Jennifer Hansen-Glucklich argues, is not without its own problems. Hansen-Glucklich explains, " Such a use of metonymy contributes to the dehumanization of the victims as they are reduced to a heap of indistinguishable objects and their individuality subsumed by an aesthetic of anonymity and excess.

While a powerful technique, Hansen-Glucklick points out that when used en masse the metonym suffers as the memory and suffering of the individual is lost in the chorus of the whole.

While at times juxtaposed, the alternative technique of the use of authentic objects is seen the same exhibit mentioned above. The use of authentic artifacts is employed by most, if not all, museums but the degree to which and the intention can vary greatly.

The basic idea behind exhibiting authentic artifacts is to provide not only legitimacy to the exhibit's historical narrative but, at times, to help create the narrative as well.

The theory behind this technique is to exhibit artifacts in a neutral manner to orchestrate and narrate the historic narrative through, ideally, the provenance of the artifacts themselves.

While albeit necessary to some degree in any museum repertoire, the use of authentic artifacts can not only be misleading but as equally problematic as the aforementioned metonymic technique.

Hansen-Glucklick explains, "The danger of such a strategy lies in the fact that by claiming to offer the remnants of the past to the spectator, the museum creates the illusion of standing before a complete picture.

The suggestion is that if enough details and fragments are collected and displayed, a coherent and total truth concerning the past will emerge, visible and comprehensible.

The museum attempts, in other words, to archive the unachievable. A well designed exhibition should employ objects and artifacts as a foundation to the narrative but not as a crutch; a lesson any conscientious curator would be well to keep in mind.

Some museum scholars have even begun to question whether museums truly need artifacts at all. Historian Steven Conn provocatively asks this question, suggesting that there are fewer objects in all museums now, as they have been progressively replaced by interactive technology.

This is not necessarily a negative development. Dorothy Canfield Fisher observed that the reduction in objects has pushed museums to grow from institutions that artlessly showcased their many artifacts in the style of early cabinets of curiosity to instead "thinning out" the objects presented "for a general view of any given subject or period, and to put the rest away in archive-storage-rooms, where they could be consulted by students, the only people who really needed to see them".

Museums can vary based on size, from large institutions covering many of the categories below, to very small institutions focusing on a specific subjects, such as a specific location, a notable person, or a given period of time.

Museums can also be categorized into major groups by the type of collections they display, to include: fine arts , applied arts , craft , archaeology , anthropology and ethnology , biography , history , cultural history , science , technology , children's museums , natural history , botanical and zoological gardens.

Within these categories, many museums specialize further, e. Another type of museum is an encyclopedic museum. Commonly referred to as a universal museum, encyclopedic museums have collections representative of the world and typically include art, science, history, and cultural history.

The size of a museum's collection typically determines the museum's size, whereas its collection reflects the type of museum it is.

Many museums normally display a "permanent collection" of important selected objects in its area of specialization, and may periodically display "special collections" on a temporary basis.

It may sometimes be useful to distinguish between diachronic and synchronic museums. According to University of Florida 's Professor Eric Kilgerman, "While a museum in which a particular narrative unfolds within its halls is diachronic, those museums that limit their space to a single experience are called synchronic.

Agricultural museums are dedicated to preserving agricultural history and heritage. They may also display memorabilia related to farmers or businesspeople who impacted society via agriculture e.

Architectural museums are institutions dedicated to educating visitors about architecture and a variety of related fields, often including urban design, landscape design, interior decoration, engineering, and historic preservation.

Additionally, museums of art or history sometimes dedicate a portion of the museum or a permanent exhibit to a particular facet or era of architecture and design, though this does not technically constitute a proper museum of architecture.

Members consist of almost all large institutions specializing in this field and also those offering permanent exhibitions or dedicated galleries.

Architecture museums are in fact a less common type in the United States, due partly to the difficulty of curating a collection which could adequately represent or embody the large scale subject matter.

In addition to its architectural exhibits and collections, the museum seeks to educate the public about engineering and design.

The NBM is a unique museum in that the building in which it is housed—the historic Pension Building built —87—is itself a sort of curated collection piece which teaches about architecture.

Another large scale museum of architecture is the Chicago Athenaeum , an international Museum of Architecture and Design, founded in The Athenaeum differs from the National Building Museum not only in its global scope—it has offices in Italy , Greece, Germany , and Ireland —but also in its broader topical scope, which encompasses smaller modern appliances and graphic design.

A very different and much smaller example of an American architectural museum is the Schifferstadt Architectural Museum in Frederick, Maryland.

Similar to the National Building Museum, the building of the Schifferstadt is a historic structure, built in , and therefore also an embodiment of historic preservation and restoration.

In addition to instructing the public about its eighteenth-century German-American style architecture, the Schifferstadt also interprets the broader contextual history of its origins, including topics such as the French and Indian War and the arrival of the region's earliest German American immigrants.

Museums of architecture are devoted primarily to disseminating knowledge about architecture, but there is considerable room for expanding into other related genres such as design, city planning, landscape, infrastructure, and even the traditional study of history or art, which can provide useful context for any architectural exhibit.

The American Society of Landscape Architects has professional awards given out every year to architectural museums and art displays.

Archaeology museums specialize in the display of archaeological artifacts. Many are in the open air, such as the Agora of Athens and the Roman Forum.

Others display artifacts found in archaeological sites inside buildings. Some, such as the Western Australian Museum , exhibit maritime archaeological materials.

These appear in its Shipwreck Galleries, a wing of the Maritime Museum. This Museum has also developed a 'museum-without-walls' through a series of underwater wreck trails.

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 sculptures.

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, artist's books , and other types of objects.

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 and public since now Kunstmuseum Basel.

Its first building was built in — to house the cabinet of curiosities Elias Ashmole gave Oxford University in The Uffizi Gallery in Florence was initially conceived as offices for the Florentine civil service hence the name , but 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 it was officially opened to the public.

Another early public museum was the British Museum in London, which opened to the public in The science collections, library, paintings, and modern sculptures have since been found separate homes, leaving history, archaeology, non-European and pre-Renaissance art, and prints and drawings.

Underwater museum is another type of art museum where the Artificial reef are placed to promote marine life.

Cancun Underwater Museum , or the Subaquatic Sculpture Museum, in Mexico is the largest underwater museum in the world.

There are now about images in the underwater museum. The last eleven images were added in September The specialised art museum is considered a fairly modern invention , the first being the Hermitage in Saint Petersburg which was established in The Louvre in Paris was established in , soon after the French Revolution when the royal treasures were declared for the people.

Biographical museums are dedicated to items relating to the life of a single person or group of people, and may also display the items collected by their subjects during their lifetimes.

Some biographical museums are located in a house or other site associated with the lives of their subjects e. Some homes of famous people house famous collections in the sphere of the owner's expertise or interests in addition to collections of their biographical material; one such example is Apsley House , London , home of the Duke of Wellington , which, in addition to biographical memorabilia of the Duke 's life, also houses his collection world-famous paintings.

Other biographical museums, such as many of the American presidential libraries , are housed in specially constructed buildings.

There are one hundred and seven automobile museums in the United States, one in Canada , and one in the Republic of Georgia [ citation needed ] according to the National Association of Automobile Museums.

Many of the old classics come to life once the original owners pass away. Some are not-for-profit while others are run as a private business.

Children's museums are institutions that provide exhibits and programs to stimulate informal learning experiences for children.

In contrast with traditional museums that typically have a hands-off policy regarding exhibits, children's museums feature interactive exhibits that are designed to be manipulated by children.

The theory behind such exhibits is that activity can be as educational as instruction, especially in early childhood. Most children's museums are nonprofit organizations, and many are run by volunteers or by very small professional staffs.

It is often regarded as the first children's museum in the United States. Although museums at the turn of the century viewed themselves as institutions of public education, their exhibits were often not made accessible for children, who may have struggled with simple design features like the height of exhibit cases, or the language of interpretive labels.

The founders of the Brooklyn Children's Museum were concerned with education and realized that no other institution had attempted to establish "a Museum that will be of especial value and interest to young people between the ages of six and twenty years".

Anna Billings Gallup, the museum's curator from to , encouraged a learning technique that allowed children to "discover" information by themselves through touching and examining objects.

Visitors to the museum were able to compare the composition, weight, and hardness of minerals, learn to use a microscope to examine natural objects, and build their own collections of natural objects to be displayed in a special room of the museum.

She believed learning at the Brooklyn Children's Museum should be "pure fun", and to this end developed nature clubs, held field trips, brought live animals into the museum, and hired gallery instructors to lead children in classification games about animals, shells, and minerals.

Children's museums often emphasize experiential learning through museum interactives, sometimes leading them to have very few or no physical collection items.

The Brooklyn Children's Museum and other early children's museums grew out of the tradition of natural history museums, object-centered institutions.

Over the course of the twentieth century, the children's museums slowly began to discard their objects in favor of more interactive exhibits.

While children's museums are a more extreme case, it is important to note that during the twentieth century, more and more museums have elected to display fewer objects and offer more interpretation than museums of the nineteenth century.

After the Brooklyn Children's Museum opened in , other American museums followed suit by opening small children's sections of their institutions designed with children in mind and equipped with interactive activities, such as the Smithsonian 's children's room opened in E , established in , with member institutions in 34 countries as of A community museum is a museum serving as an exhibition and gathering space for specific identity groups or geographic areas.

In contrast to traditional museums, community museums are commonly multidisciplinary, and may simultaneously exhibit the history, social history, art, or folklore of their communities.

They emphasize collaboration with — and relevance to — visitors and other stakeholders. A design museum is a museum with a focus on product , industrial , graphic , fashion , and architectural design.

Many design museums were founded as museums for applied arts or decorative arts and started only in the late 20th century to collect design. Pop-up wndr museum of Chicago was purposefully made to provide visitors with interesting selfie backgrounds.

Encyclopedic museums are large, mostly national, institutions that offer visitors an abundance of information on a variety of subjects that tell both local and global stories.

The aim of encyclopedic museums is to provide examples of each classification available for a field of knowledge.

They encourage curiosity about the world. They state that encyclopedic museums are advantageous for society by exposing museum visitors to a wide variety of cultures, engendering a sense of a shared human history.

Ethnology museums are a type of museum that focus on studying, collecting, preserving and displaying artifacts and objects concerning ethnology and anthropology.

This type of museum usually were built in countries possessing diverse ethnic groups or significant numbers of ethnic minorities.

An example is the Ozurgeti History Museum , an ethnographic museum in Georgia. Within the category of history museums, historic house museums are the most numerous.

The earliest projects for preserving historic homes began in the s under the direction of individuals concerned with the public good and the preservation of American history, especially centered on the first president.

Since the establishment of America's first historic site at Washington's Revolutionary headquarters at Hasbrouck House in New York, Americans have found a penchant for preserving similar historical structures.

The establishment of historic house museums increased in popularity through the s and s as the Revolutionary bicentennial set off a wave of patriotism and alerted Americans to the destruction of their physical heritage.

The tradition of restoring homes of the past and designating them as museums draws on the English custom of preserving ancient buildings and monuments.

Initially homes were considered worthy of saving because of their associations with important individuals, usually of the elite classes, like former presidents, authors, or businessmen.

Increasingly, Americans have fought to preserve structures characteristic of a more typical American past that represents the lives of everyday people including minorities.

While historic house museums compose the largest section within the historic museum category, they usually operate with small staffs and on limited budgets.

Many are run entirely by volunteers and often do not meet the professional standards established by the museum industry.

An independent survey conducted by Peggy Coats in revealed that sixty-five percent of historic house museums did not have a full-time staff and 19 to 27 percent of historic homes employed only one full-time employee.

The survey also revealed a significant disparity in the number of visitors between local house museums and national sites.

While museums like Mount Vernon and Colonial Williamsburg were visited by over one million tourists a year, more than fifty percent of historic house museums received less than 5, visitors per year.

These museums are also unique in that the actual structure belongs to the museum collection as a historical object. While some historic home museums are fortunate to possess a collection containing many of the original furnishings once present in the home, many face the challenge of displaying a collection consistent with the historical structure.

Some museums choose to collect pieces original to the period while not original to the house. Others, fill the home with replicas of the original pieces reconstructed with the help of historic records.

Still other museums adopt a more aesthetic approach and use the homes to display the architecture and artistic objects.

Some museums grapple with this issue by displaying different eras in the home's history within different rooms or sections of the structure.

Others choose one particular narrative, usually the one deemed most historically significant, and restore the home to that particular period.

The U. National Park Service defines a historic site as the "location of a significant event, a prehistoric or historic occupation or activity, or a building or structure, whether standing, ruined, or vanished, where the location itself possesses historic, cultural, or archeological value regardless of the value of any existing structure".

Museums may concern more general crimes and atrocities, such as slavery. Often these museums are connected to a particular example, such as the proposed International African American Museum in Charleston, South Carolina , which will treat slavery as an institution with a particular focus on slavery in Charleston and South Carolina's Lowcountry, [] or the International Slavery Museum in Liverpool focusing on Liverpool's role in the transatlantic slave trade.

The majority of museums across the country that tell state and local history also follow this example. Other museums have a problem interpreting colonial histories, especially at Native American historic sites.

However, museums such as the National Museum of the American Indian and Ziibiwing Center of Anishinabe Culture and Lifeways in Michigan are working to share authority with indigenous groups and decolonize museums.

Living history museums combine historic architecture, material culture, and costumed interpretation with natural and cultural landscapes to create an immersive learning environment.

These museums include the collection, preservation or interpretation of material culture, traditional skills, and historical processes.

Recreated historical settings simulating past time periods can offer the visitor a sense of traveling back in time. They are a type of open-air museum.

Two main interpretation styles dominate the visitor experience at living history museums: first and third person interpretation.

In first person interpretation, interpreters assume the persona, including the speech patterns, behaviors, views, and dress of a historical figure from the museum's designated time period.

In third person interpretation, the interpreters openly acknowledge themselves to be a contemporary of the museum visitor. The interpreter is not restricted by being in-character and can speak to the visitor about society from a modern-day perspective.

The beginnings of the living history museum can be traced back to with the opening of the Skansen Museum near Stockholm, Sweden.

Public access to these museums was often possible for the "respectable", especially to private art collections, but at the whim of the owner and his staff. See also: Museum planning and Interpretive planning. The Athenaeum differs from the National Building Museum not Rache Filme in its global Filme 2013 Biz has offices in ItalyGreece, GermanyMusume Ireland —but also in its broader topical scope, which Balduin, Der Ferienschreck smaller modern appliances and graphic design. How to say musume in sign language? Archived from the original on 1 April Retrieved 16 October Main article: Biographical museum. Retrieved 2 October Dabei übergab Yuko Nakazawa offiziell ihre Führungsposition des Hello! Hauptseite Themenportale Zufälliger Artikel. April wurde überraschend bekanntgegeben, dass Aika Mitsui zusammen mit Risa Niigaki aus Morning Musume Voyeur Tv. Project zurück. Januar veröffentlicht. Die Xkino.To erreichte zwar Platz 3 in den Chartswar aber mit Musume

Not every museum is participating in this trend, but that seems to be the trajectory of museums in the twenty-first century with its emphasis on inclusiveness.

One pioneering way museums are attempting to make their collections more accessible is with open storage. Most of a museum's collection is typically locked away in a secure location to be preserved, but the result is most people never get to see the vast majority of collections.

The Brooklyn Museum's Luce Center for American Art practices this open storage where the public can view items not on display, albeit with minimal interpretation.

The practice of open storage is all part of an ongoing debate in the museum field of the role objects play and how accessible they should be.

In terms of modern museums, 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 museum's 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, and their mission reflects this; 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 recent years, some cities have turned to museums as an avenue for economic development or rejuvenation. This is particularly true in the case of postindustrial cities.

For example, the spectacular Guggenheim Bilbao was built in Bilbao, Spain in a move by the Basque regional government to revitalize the dilapidated old port area of that city.

Titanic Belfast was built for the same price as the Guggenheim Bilbao and which was incidentally built by the same architect, Frank Gehry in time for the th anniversary of the Belfast-built ship's maiden voyage in Museums being used as a cultural economic driver by city and local governments has proven to be controversial among museum activists and local populations alike.

Public protests have occurred in numerous cities which have tried to employ museums in this way. While most subside if a museum is successful, as happened in Bilbao, others continue especially if a museum struggles to attract visitors.

Steven Conn, one such museum proponent, believes that "to ask museums to solve our political and economic problems is to set them up for inevitable failure and to set us the visitor up for inevitable disappointment.

Museums are facing funding shortages. Funding for museums comes from four major categories, and as of the breakdown for the United States is as follows: Government support at all levels 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, 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.

Museums of all sizes may also contract the outside services of exhibit fabrication businesses. Exhibition design has as multitude of strategies, theories, and methods but two that embody much of the theory and dialogue surrounding exhibition design are the metonymy technique and the use of authentic artifacts to provide the historical narrative.

Metonymy, or "the substitution of the name of an attribute or adjunct for that of the thing meant", [80] is a technique used by many museums but few as heavily and as influentially as Holocaust museums.

Simply a pile of decaying leather shoes piled against a bare, gray concrete wall the exhibit relies heavily on the emotional, sensory response the viewer will naturally through this use metonymic technique.

This exhibition design intentionally signifies metonymically the nameless and victims themselves. This metaphysical link to the victims through the deteriorating and aged shoes stands as a surviving vestige of the individual victim.

This technique, employed properly, can be a very powerful one as it plays off the real life experiences of the viewer while evoking the equally unique memory of the victim.

Metonymy, however, Jennifer Hansen-Glucklich argues, is not without its own problems. Hansen-Glucklich explains, " Such a use of metonymy contributes to the dehumanization of the victims as they are reduced to a heap of indistinguishable objects and their individuality subsumed by an aesthetic of anonymity and excess.

While a powerful technique, Hansen-Glucklick points out that when used en masse the metonym suffers as the memory and suffering of the individual is lost in the chorus of the whole.

While at times juxtaposed, the alternative technique of the use of authentic objects is seen the same exhibit mentioned above.

The use of authentic artifacts is employed by most, if not all, museums but the degree to which and the intention can vary greatly. The basic idea behind exhibiting authentic artifacts is to provide not only legitimacy to the exhibit's historical narrative but, at times, to help create the narrative as well.

The theory behind this technique is to exhibit artifacts in a neutral manner to orchestrate and narrate the historic narrative through, ideally, the provenance of the artifacts themselves.

While albeit necessary to some degree in any museum repertoire, the use of authentic artifacts can not only be misleading but as equally problematic as the aforementioned metonymic technique.

Hansen-Glucklick explains, "The danger of such a strategy lies in the fact that by claiming to offer the remnants of the past to the spectator, the museum creates the illusion of standing before a complete picture.

The suggestion is that if enough details and fragments are collected and displayed, a coherent and total truth concerning the past will emerge, visible and comprehensible.

The museum attempts, in other words, to archive the unachievable. A well designed exhibition should employ objects and artifacts as a foundation to the narrative but not as a crutch; a lesson any conscientious curator would be well to keep in mind.

Some museum scholars have even begun to question whether museums truly need artifacts at all. Historian Steven Conn provocatively asks this question, suggesting that there are fewer objects in all museums now, as they have been progressively replaced by interactive technology.

This is not necessarily a negative development. Dorothy Canfield Fisher observed that the reduction in objects has pushed museums to grow from institutions that artlessly showcased their many artifacts in the style of early cabinets of curiosity to instead "thinning out" the objects presented "for a general view of any given subject or period, and to put the rest away in archive-storage-rooms, where they could be consulted by students, the only people who really needed to see them".

Museums can vary based on size, from large institutions covering many of the categories below, to very small institutions focusing on a specific subjects, such as a specific location, a notable person, or a given period of time.

Museums can also be categorized into major groups by the type of collections they display, to include: fine arts , applied arts , craft , archaeology , anthropology and ethnology , biography , history , cultural history , science , technology , children's museums , natural history , botanical and zoological gardens.

Within these categories, many museums specialize further, e. Another type of museum is an encyclopedic museum. Commonly referred to as a universal museum, encyclopedic museums have collections representative of the world and typically include art, science, history, and cultural history.

The size of a museum's collection typically determines the museum's size, whereas its collection reflects the type of museum it is.

Many museums normally display a "permanent collection" of important selected objects in its area of specialization, and may periodically display "special collections" on a temporary basis.

It may sometimes be useful to distinguish between diachronic and synchronic museums. According to University of Florida 's Professor Eric Kilgerman, "While a museum in which a particular narrative unfolds within its halls is diachronic, those museums that limit their space to a single experience are called synchronic.

Agricultural museums are dedicated to preserving agricultural history and heritage. They may also display memorabilia related to farmers or businesspeople who impacted society via agriculture e.

Architectural museums are institutions dedicated to educating visitors about architecture and a variety of related fields, often including urban design, landscape design, interior decoration, engineering, and historic preservation.

Additionally, museums of art or history sometimes dedicate a portion of the museum or a permanent exhibit to a particular facet or era of architecture and design, though this does not technically constitute a proper museum of architecture.

Members consist of almost all large institutions specializing in this field and also those offering permanent exhibitions or dedicated galleries.

Architecture museums are in fact a less common type in the United States, due partly to the difficulty of curating a collection which could adequately represent or embody the large scale subject matter.

In addition to its architectural exhibits and collections, the museum seeks to educate the public about engineering and design.

The NBM is a unique museum in that the building in which it is housed—the historic Pension Building built —87—is itself a sort of curated collection piece which teaches about architecture.

Another large scale museum of architecture is the Chicago Athenaeum , an international Museum of Architecture and Design, founded in The Athenaeum differs from the National Building Museum not only in its global scope—it has offices in Italy , Greece, Germany , and Ireland —but also in its broader topical scope, which encompasses smaller modern appliances and graphic design.

A very different and much smaller example of an American architectural museum is the Schifferstadt Architectural Museum in Frederick, Maryland.

Similar to the National Building Museum, the building of the Schifferstadt is a historic structure, built in , and therefore also an embodiment of historic preservation and restoration.

In addition to instructing the public about its eighteenth-century German-American style architecture, the Schifferstadt also interprets the broader contextual history of its origins, including topics such as the French and Indian War and the arrival of the region's earliest German American immigrants.

Museums of architecture are devoted primarily to disseminating knowledge about architecture, but there is considerable room for expanding into other related genres such as design, city planning, landscape, infrastructure, and even the traditional study of history or art, which can provide useful context for any architectural exhibit.

The American Society of Landscape Architects has professional awards given out every year to architectural museums and art displays.

Archaeology museums specialize in the display of archaeological artifacts. Many are in the open air, such as the Agora of Athens and the Roman Forum.

Others display artifacts found in archaeological sites inside buildings. Some, such as the Western Australian Museum , exhibit maritime archaeological materials.

These appear in its Shipwreck Galleries, a wing of the Maritime Museum. This Museum has also developed a 'museum-without-walls' through a series of underwater wreck trails.

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 sculptures.

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, artist's books , and other types of objects.

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 and public since now Kunstmuseum Basel.

Its first building was built in — to house the cabinet of curiosities Elias Ashmole gave Oxford University in The Uffizi Gallery in Florence was initially conceived as offices for the Florentine civil service hence the name , but 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 it was officially opened to the public.

Another early public museum was the British Museum in London, which opened to the public in The science collections, library, paintings, and modern sculptures have since been found separate homes, leaving history, archaeology, non-European and pre-Renaissance art, and prints and drawings.

Underwater museum is another type of art museum where the Artificial reef are placed to promote marine life.

Cancun Underwater Museum , or the Subaquatic Sculpture Museum, in Mexico is the largest underwater museum in the world. There are now about images in the underwater museum.

The last eleven images were added in September The specialised art museum is considered a fairly modern invention , the first being the Hermitage in Saint Petersburg which was established in The Louvre in Paris was established in , soon after the French Revolution when the royal treasures were declared for the people.

Biographical museums are dedicated to items relating to the life of a single person or group of people, and may also display the items collected by their subjects during their lifetimes.

Some biographical museums are located in a house or other site associated with the lives of their subjects e. Some homes of famous people house famous collections in the sphere of the owner's expertise or interests in addition to collections of their biographical material; one such example is Apsley House , London , home of the Duke of Wellington , which, in addition to biographical memorabilia of the Duke 's life, also houses his collection world-famous paintings.

Other biographical museums, such as many of the American presidential libraries , are housed in specially constructed buildings.

There are one hundred and seven automobile museums in the United States, one in Canada , and one in the Republic of Georgia [ citation needed ] according to the National Association of Automobile Museums.

Many of the old classics come to life once the original owners pass away. Some are not-for-profit while others are run as a private business.

Children's museums are institutions that provide exhibits and programs to stimulate informal learning experiences for children.

In contrast with traditional museums that typically have a hands-off policy regarding exhibits, children's museums feature interactive exhibits that are designed to be manipulated by children.

The theory behind such exhibits is that activity can be as educational as instruction, especially in early childhood. Most children's museums are nonprofit organizations, and many are run by volunteers or by very small professional staffs.

It is often regarded as the first children's museum in the United States. Although museums at the turn of the century viewed themselves as institutions of public education, their exhibits were often not made accessible for children, who may have struggled with simple design features like the height of exhibit cases, or the language of interpretive labels.

The founders of the Brooklyn Children's Museum were concerned with education and realized that no other institution had attempted to establish "a Museum that will be of especial value and interest to young people between the ages of six and twenty years".

Anna Billings Gallup, the museum's curator from to , encouraged a learning technique that allowed children to "discover" information by themselves through touching and examining objects.

Visitors to the museum were able to compare the composition, weight, and hardness of minerals, learn to use a microscope to examine natural objects, and build their own collections of natural objects to be displayed in a special room of the museum.

She believed learning at the Brooklyn Children's Museum should be "pure fun", and to this end developed nature clubs, held field trips, brought live animals into the museum, and hired gallery instructors to lead children in classification games about animals, shells, and minerals.

Children's museums often emphasize experiential learning through museum interactives, sometimes leading them to have very few or no physical collection items.

The Brooklyn Children's Museum and other early children's museums grew out of the tradition of natural history museums, object-centered institutions.

Over the course of the twentieth century, the children's museums slowly began to discard their objects in favor of more interactive exhibits.

While children's museums are a more extreme case, it is important to note that during the twentieth century, more and more museums have elected to display fewer objects and offer more interpretation than museums of the nineteenth century.

After the Brooklyn Children's Museum opened in , other American museums followed suit by opening small children's sections of their institutions designed with children in mind and equipped with interactive activities, such as the Smithsonian 's children's room opened in E , established in , with member institutions in 34 countries as of A community museum is a museum serving as an exhibition and gathering space for specific identity groups or geographic areas.

In contrast to traditional museums, community museums are commonly multidisciplinary, and may simultaneously exhibit the history, social history, art, or folklore of their communities.

They emphasize collaboration with — and relevance to — visitors and other stakeholders. A design museum is a museum with a focus on product , industrial , graphic , fashion , and architectural design.

Many design museums were founded as museums for applied arts or decorative arts and started only in the late 20th century to collect design.

Pop-up wndr museum of Chicago was purposefully made to provide visitors with interesting selfie backgrounds.

Encyclopedic museums are large, mostly national, institutions that offer visitors an abundance of information on a variety of subjects that tell both local and global stories.

The aim of encyclopedic museums is to provide examples of each classification available for a field of knowledge. They encourage curiosity about the world.

They state that encyclopedic museums are advantageous for society by exposing museum visitors to a wide variety of cultures, engendering a sense of a shared human history.

Ethnology museums are a type of museum that focus on studying, collecting, preserving and displaying artifacts and objects concerning ethnology and anthropology.

This type of museum usually were built in countries possessing diverse ethnic groups or significant numbers of ethnic minorities.

An example is the Ozurgeti History Museum , an ethnographic museum in Georgia. Within the category of history museums, historic house museums are the most numerous.

The earliest projects for preserving historic homes began in the s under the direction of individuals concerned with the public good and the preservation of American history, especially centered on the first president.

Since the establishment of America's first historic site at Washington's Revolutionary headquarters at Hasbrouck House in New York, Americans have found a penchant for preserving similar historical structures.

The establishment of historic house museums increased in popularity through the s and s as the Revolutionary bicentennial set off a wave of patriotism and alerted Americans to the destruction of their physical heritage.

The tradition of restoring homes of the past and designating them as museums draws on the English custom of preserving ancient buildings and monuments.

Initially homes were considered worthy of saving because of their associations with important individuals, usually of the elite classes, like former presidents, authors, or businessmen.

Increasingly, Americans have fought to preserve structures characteristic of a more typical American past that represents the lives of everyday people including minorities.

While historic house museums compose the largest section within the historic museum category, they usually operate with small staffs and on limited budgets.

Many are run entirely by volunteers and often do not meet the professional standards established by the museum industry. An independent survey conducted by Peggy Coats in revealed that sixty-five percent of historic house museums did not have a full-time staff and 19 to 27 percent of historic homes employed only one full-time employee.

The survey also revealed a significant disparity in the number of visitors between local house museums and national sites.

While museums like Mount Vernon and Colonial Williamsburg were visited by over one million tourists a year, more than fifty percent of historic house museums received less than 5, visitors per year.

These museums are also unique in that the actual structure belongs to the museum collection as a historical object. While some historic home museums are fortunate to possess a collection containing many of the original furnishings once present in the home, many face the challenge of displaying a collection consistent with the historical structure.

Some museums choose to collect pieces original to the period while not original to the house. Others, fill the home with replicas of the original pieces reconstructed with the help of historic records.

Still other museums adopt a more aesthetic approach and use the homes to display the architecture and artistic objects.

Some museums grapple with this issue by displaying different eras in the home's history within different rooms or sections of the structure.

Others choose one particular narrative, usually the one deemed most historically significant, and restore the home to that particular period.

The U. National Park Service defines a historic site as the "location of a significant event, a prehistoric or historic occupation or activity, or a building or structure, whether standing, ruined, or vanished, where the location itself possesses historic, cultural, or archeological value regardless of the value of any existing structure".

Museums may concern more general crimes and atrocities, such as slavery. Often these museums are connected to a particular example, such as the proposed International African American Museum in Charleston, South Carolina , which will treat slavery as an institution with a particular focus on slavery in Charleston and South Carolina's Lowcountry, [] or the International Slavery Museum in Liverpool focusing on Liverpool's role in the transatlantic slave trade.

The majority of museums across the country that tell state and local history also follow this example. Other museums have a problem interpreting colonial histories, especially at Native American historic sites.

However, museums such as the National Museum of the American Indian and Ziibiwing Center of Anishinabe Culture and Lifeways in Michigan are working to share authority with indigenous groups and decolonize museums.

Living history museums combine historic architecture, material culture, and costumed interpretation with natural and cultural landscapes to create an immersive learning environment.

These museums include the collection, preservation or interpretation of material culture, traditional skills, and historical processes.

Recreated historical settings simulating past time periods can offer the visitor a sense of traveling back in time.

They are a type of open-air museum. Two main interpretation styles dominate the visitor experience at living history museums: first and third person interpretation.

In first person interpretation, interpreters assume the persona, including the speech patterns, behaviors, views, and dress of a historical figure from the museum's designated time period.

In third person interpretation, the interpreters openly acknowledge themselves to be a contemporary of the museum visitor. The interpreter is not restricted by being in-character and can speak to the visitor about society from a modern-day perspective.

The beginnings of the living history museum can be traced back to with the opening of the Skansen Museum near Stockholm, Sweden.

The museum's founder, Artur Hazelius , began the museum by using his personal collection of buildings and other cultural materials of pre-industrial society.

For years, living history museums were relatively nonexistent outside of Scandinavia , though some military garrisons in North America used some living history techniques.

Living history museums in the United States were initially established by entrepreneurs, such as John D. Rockefeller and Henry Ford , and since then have proliferated within the museum world.

Maritime museums are museums that specialize in the presentation of maritime history, culture, or archaeology. They explore the relationship between societies and certain bodies of water.

Just as there is a wide variety of museum types, there are also many different types of maritime museums. First, as mentioned above, maritime museums can be primarily archaeological.

These museums focus on the interpretation and preservation of shipwrecks and other artifacts recovered from a maritime setting.

A second type is the maritime history museum, dedicated to educating the public about humanity's maritime past.

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Studio Hibari Larx Entertainment. Categories : Manga series manga anime television series manga anime OVAs Anime series based on manga Comedy anime and manga Fantasy anime and manga Greco-Roman mythology in anime and manga Harem anime and manga Lerche studio Television series about monsters Seinen manga Sentai Filmworks Seven Seas Entertainment titles Tokuma Shoten manga Television series based on Greco-Roman mythology.

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Anime television series. NA Seven Seas Entertainment. Original animation DVD. Anime and manga portal. Kimihito Kurusu wakes up to find Miia crushing him in her sleep.

After escaping, he draws a bath for her to warm up and goes to make breakfast. In the kitchen he is surprised by Smith, who has come to make sure he isn't engaging in any prohibited activities with Miia, such as sex.

After Smith leaves, Miia tries to seduce him, only to accidentally dislocate his shoulder. The two go on a field trip, including a visit to an all-species lingerie shop.

Afterwards, they run into a racist couple who harass Miia, and Kimihito has to jump in the way when she tries to strike them with her tail, to keep her from breaking the law.

Trying to escape from a curious crowd, they hide in a love hotel , where they are ambushed by the Interspecies Exchange Security Squad. However, Smith recognizes them and fixes the situation.

Leaving the hotel, they encounter the couple, and when they begin harassing Miia again, Kimihito punches them. At home, Miia resumes her advances on Kimihito, only for them to be interrupted by Smith.

Kimihito is kidnapped by Papi , who brings him to a park, where he buys her ice cream. Papi then takes a bath in a public fountain, where Miia finds them.

With various mishaps, the three work together to save a girl who was stuck in a tree. When a policeman arrives, Kimihito claims to be Papi's host family to keep her from being deported.

The officer is skeptical, but Smith arrives with Papi's papers just in time, and tells Kimihito that she was on her way to make the harpy live with him, and Papi much to her delight joins the household.

While out grocery shopping, Kimihito collides with Centorea. She becomes convinced that Kimihito is her destined master.

Encountering a motorcycle-riding purse-snatcher, the two pursue him. They eventually catch him, despite various embarrassing accidents.

When the thief tries to attack Centorea with her dropped sword, Kimihito leaps in front of her and takes the blow, but survives due to the sword being a replica.

Later, Smith explains that Kimihito riding Centorea could be viewed as akin to rape, since only a centaur's chosen master may ride them.

Centorea chooses him as her master, resulting in her joining his household. When Papi tries to seduce Kimihito during their bath, Centorea rescues him and they flee to the park where they share a tender moment.

They are soon followed and interrupted by Miia and Papi, and the three begin fighting for Kimihito's affection.

Smith arrives with a tranquilizer gun to stop them, but accidentally shoots Kimihito instead. When he wakes up at home, the three are apologetic for the harm they have caused him, but he dismisses their worries.

Smith then announces that there have been proposed changes to the Interspecies Exchange Bill, and she wants him to marry one of the girls as a test case.

That night, Miia arrives in Kimihito's room and tries to seduce him, only to be interrupted by Papi, who crashes through the window.

Centorea arrives to rescue Kimihito from Papi and explains that the full moon is to blame their abnormal behavior since it heightens liminal emotions; however, it soon becomes clear that she is also affected.

Kimihito realizes that they are not in control of themselves and he is in serious danger of being injured or killed through their amorous advances.

Waking up the next morning, none of the three girls remember the events of the previous night. An injured Kimihito announces his plans to begin dating all three of them before collapsing unconscious on the floor.

While waiting for dinner, Miia opens a pot on the stove and is attacked by a slime. Centorea explains that slimes are one of many species as yet unrecognized by human society; the slime then attacks again, and when Centorea's sword has no effect, both she and Kimihito end up covered in slime.

When he goes to take a bath, she joins him after being unable to get clean. She conjectures that the slime was attacking them to get water; it then attacks them again in the bath.

When Centorea slips and is knocked unconscious, the slime takes the form of a woman and begins imitating Kimihito's washing of Cerea by washing him; due to her body being liquid, however, she absorbs and almost drowns him before he escapes by diluting her in the tub.

They debate what to do with her, and Papi who seems to have immediately taken to the newcomer reveals that she has named her Suu.

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Diese Aufgabe gab sie weiter an Risa Niigaki, welche nun das letzte Mitglied der fünften Generation und zugleich das Älteste war. Juni Am Mit rund Seitokai Yakuindomo gab Tsunku in einem Blogpost bekannt, dass die Gruppe sich ab Rtl Austria 1. Januar bekannt gegeben. Bettina Kenney. Ein Beispiel vorschlagen. It can occur independently, or can be associated with another disease, such as systemic lupus or rheumatoid arthr Juli veröffentlicht. Ihre Generation steht. Generation vorgestellt.

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Dieser Beitrag hat 3 Kommentare

  1. Nikozuru

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  2. Faubar

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