A The conviction that historical re

A The conviction that historical relics provide infallible testimony about the past is rooted in the nineteenth and early twentieth centuries, when science was regarded as objective and value free. As one writer observes: 'Although it is now evident that artifacts are as easily altered as chronicles, public faith in their veracity endures: a tangible relic seems ipso facto real! Such conviction was, until recently, reflected in museum displays. Museums used to look — and some still do — much like storage rooms of objects packed together in showcases: good for scholars who wanted to study the subtle differences in design, but not for the ordinary visitor. to whom lt all looked alike. Similarly, the information accompanying the objects often made little sense to the lay visitor. The content and format of explanations dated back to a time when the museum was the exclusive domain of the scientific researcher.

B Recently, however, attitudes towards history and the way lt should be presented have altered. The key word in heritage display is now 'experience the more exciting the better and, if possible, involving all the senses. Good examples of this approach ln the UK are the Jorvik Centre in York; the National Museum of Photography, Elm ­­and Television in Bradford; and the imperial War Museum in London. In the US the trend emerged much earlier. Williamsburg has been a prototype for many heritage developments in other parts of the world. No one can predict where the process will end. On so called heritage sites the re-enactment of historical events is increasingly popular, and computers will soon provide virtual reality experiences, which will present visitors with a vivid image of the period of their choice, in which they themselves can act as if part of the historical environment. Such developments have been criticised as an intolerable vulgarisation. but the success of many historical theme parks and similar locations suggests that the majority of the public does not
share this opinion.

C In a related development, the sharp distinction between museum and heritage sites on the one hand, and theme parks on the other. is gradually evaporating. They already borrow ideas and concepts from one another. For example, museums have adopted storylines for exhibitions, sites have accepted 'theming’ as a relevant tool, and theme parks are moving towards more authenticity and research-based presentations in zoos, animals are no longer kept in cages, but in great spaces, either ln the open air or in enormous greenhouses, such as the jungle and desert environments .In Burgers' Zoo In Holland. This particular trend is regarded as one of the major developments in the presentation of natural history in the twentieth century.

D Theme parks are undergoing other changes, too, as they try to present more serious social and cultural issues, and move away from fantasy. This development is a response to market forces and, although museums and heritage sites have a special. rather distinct, role to fullfil, they are also operating in a very competitive environment, where visitors make choices on how and where to spend their free time. Heritage and museum experts do not have to invent stories and recreate historical environments to attract their visitors: their assets are already in place. However, exhibits must be both based on artefacts and facts as we know them, and attractively presented. Those who are professionally engaged in the art of interpreting history are thus ln a difficult position, as they must steer a narrow course between the demands of ’evidence' and ‘attractiveness especially given the increasing need in the heritage industry for income generating activities.

E It could be claimed that in order to make everything in heritage more `real` historical accuracy must be increasingly altered. For example, Pithecanthropus erectus is depicted in an Indonesian museum with Malay facial features, because this corresponds to public perceptions. Similarly, in the Museum of Natural History in Washington, Neanderthal man is shown making a dominant gesture to his wife. Such presentations tell us more about contemporary perceptions of the world than about our ancestors. There is one compensation, however, for the professionals who make these interpretations: If they did not provide the interpretation, visitors would do it for themselves. based on their own ideas. misconceptions and prejudices. And no matter how exciting the result, it would contain a lot more bias than the presentations provided by experts.

F Human bias is inevitable, but another source of bias in the representation of history has to do with the transitory nature of the materials themselves. The simple fact is that not everything from history survives the historical process. Castles, palaces and cathedrals have a longer lifespan than the dwellings of ordinary people. The same applies to the famishing and other contents of the premises. In a town like Leyden in Holland, which in the seventeenth century was occupied by approximately the same number of inhabitants as today, people lived within the walled town, an area more than five times smaller than modern Leyden. In most of the houses several families lived together in circumstances beyond our imagination. Yet In museums, line period rooms give only an image of the lifestyle of the upper class of that era. No wonder that people who stroll around exhibitions are filled with nostalgia; the evidence in museums indicates that life was so much better in the past. This notion is induced by the bias in its representation in museums and heritage centers.

Kết quả (Trung (Phồn thể)) 1:

A 歷史文物提供關於過去的可靠證詞植根于十九和二十世紀初，當科學被視為自由目的和價值的信念。正如一位作家指出: 雖然現在，顯而易見的工件一樣容易改變作為編年史，其真實性的公眾信念長存: 有形的文物似乎事實真實!這種信念是，直到最近，反映在博物館陳列。用來看的博物館 — — 仍有人這樣想 — — 很像儲藏室的物件一起擠進了展示: 好為學者們想要研究的細微的差別，在設計中，而不是一般的訪客。給誰 lt 所有看起來很像。同樣，經常伴隨著物件的資訊是講不通的業外訪客。內容和格式的解釋可追溯到當時博物館科學研究員的專屬領域。B 最近，然而，歷史和 lt 應該呈現的方式的態度已經改變。在遺產展示的關鍵字是現在 ' 體驗更令人興奮的好，如果可能的話，涉及所有的感官。這個方法 ln 英國很好的例子是 Jorvik Centre 在紐約;國家攝影博物館、 榆樹和布拉德福德; 電視和倫敦的帝國戰爭博物館。在美國的趨勢出現要早得多。威廉斯堡一直在世界其他地區的許多遺產發展的原型。沒有人能預測這個過程會在哪裡結束。所謂文化遺產在歷史事件的再現是越來越受歡迎，和電腦將很快提供虛擬實境經驗，用生動、 形象的時期他們的選擇，他們自己能將遊客仿佛歷史環境的一部分。這種事態發展已經被批評為不能容忍的粗俗。但許多歷史主題公園和類似地方的成功表明，大多數市民不同意這個見解。C In a related development, the sharp distinction between museum and heritage sites on the one hand, and theme parks on the other. is gradually evaporating. They already borrow ideas and concepts from one another. For example, museums have adopted storylines for exhibitions, sites have accepted 'theming’ as a relevant tool, and theme parks are moving towards more authenticity and research-based presentations in zoos, animals are no longer kept in cages, but in great spaces, either ln the open air or in enormous greenhouses, such as the jungle and desert environments .In Burgers' Zoo In Holland. This particular trend is regarded as one of the major developments in the presentation of natural history in the twentieth century.D Theme parks are undergoing other changes, too, as they try to present more serious social and cultural issues, and move away from fantasy. This development is a response to market forces and, although museums and heritage sites have a special. rather distinct, role to fullfil, they are also operating in a very competitive environment, where visitors make choices on how and where to spend their free time. Heritage and museum experts do not have to invent stories and recreate historical environments to attract their visitors: their assets are already in place. However, exhibits must be both based on artefacts and facts as we know them, and attractively presented. Those who are professionally engaged in the art of interpreting history are thus ln a difficult position, as they must steer a narrow course between the demands of ’evidence' and ‘attractiveness especially given the increasing need in the heritage industry for income generating activities.E It could be claimed that in order to make everything in heritage more `real` historical accuracy must be increasingly altered. For example, Pithecanthropus erectus is depicted in an Indonesian museum with Malay facial features, because this corresponds to public perceptions. Similarly, in the Museum of Natural History in Washington, Neanderthal man is shown making a dominant gesture to his wife. Such presentations tell us more about contemporary perceptions of the world than about our ancestors. There is one compensation, however, for the professionals who make these interpretations: If they did not provide the interpretation, visitors would do it for themselves. based on their own ideas. misconceptions and prejudices. And no matter how exciting the result, it would contain a lot more bias than the presentations provided by experts.F Human bias is inevitable, but another source of bias in the representation of history has to do with the transitory nature of the materials themselves. The simple fact is that not everything from history survives the historical process. Castles, palaces and cathedrals have a longer lifespan than the dwellings of ordinary people. The same applies to the famishing and other contents of the premises. In a town like Leyden in Holland, which in the seventeenth century was occupied by approximately the same number of inhabitants as today, people lived within the walled town, an area more than five times smaller than modern Leyden. In most of the houses several families lived together in circumstances beyond our imagination. Yet In museums, line period rooms give only an image of the lifestyle of the upper class of that era. No wonder that people who stroll around exhibitions are filled with nostalgia; the evidence in museums indicates that life was so much better in the past. This notion is induced by the bias in its representation in museums and heritage centers.

Kết quả (Trung (Phồn thể)) 2:

A中的信念，即歷史文物提供了萬無一失的證詞過去植根於十九世紀和二十世紀早期，當科學被認為是客觀的，價值無涉。正如一位作家指出：“雖然現在明顯的是，文物如容易改變的編年史，公眾信心的真實性忍受：有形的遺物，似乎在事實上真實的！這種信念是，直到最近，體現在博物館展出。博物館看慣了-有的還在做-就像在展櫃包裝在一起的對象儲藏室：好學者，誰想要學習設計的細微差別，而不是普通的遊客。誰為lt看起來都一樣。同樣，伴隨著對象的信息往往沒有什麼意義的外行遊客。追溯至的時候，博物館是科研人員的專屬領域解釋的內容和格式乙然而，最近對歷史和LT的方式態度，應提交已經改變。在文物陳列的關鍵詞是現在'如果可能體驗到更精彩更好，涉及所有的感官。這種方法LN英國最好的例子就是在約維克中心在紐約; 攝影，榆樹和電視在布拉德福德的國家博物館; 和帝國戰爭博物館在倫敦。在美國的走勢出現要早得多。威廉斯堡一直是一個原型的許多文物的發展在世界的其他地方。沒有人能預測出該過程將結束。在所謂的遺產地重演歷史事件的日益普及，以及電腦將很快提供虛擬現實的經驗，這將提供遊客自己選擇的時期的生動形象，在他們自己可以充當如果一部分歷史環境。這樣的發展被批評為一種無法忍受的庸俗化。但許多歷史主題公園和類似地區的成功表明，多數市民並不共享這一觀點。c。在一個相關的發展，博物館和文化遺址，一方面，和主題公園並在兩者之間的明顯區別。正在逐漸蒸發。他們已經借思想和觀念彼此。例如，博物館已經通過故事情節展覽，網站已經接受了“主題化”作為一個相關的工具，主題公園正朝著在動物園更具真實性和研究為基礎的介紹，動物不再關在籠子裡，但在巨大的空間，無論是LN露天或在巨大的溫室，如叢林和沙漠環境。在漢堡動物園在荷蘭。這一特定的傾向被認為是自然的歷史，在二十世紀的演示文稿中的重大進展之一。ð 主題公園正在發生其他變化，也因為他們試圖呈現更嚴重的社會和文化問題，以及幻想搬走。這種發展是市場力量的回應，雖然博物館和文物古蹟有一個特殊的。而不同的，作用fullfil，他們是在一個競爭非常激烈的環境，讓遊客對如何以及在哪裡度過閒暇時間的選擇也經營。文物和博物館專家沒有捏造事實，並重新創建歷史環境，以吸引他們的訪客：他們的資產都已經到位。然而，展品必須既立足於文物和事實，因為我們知道他們，精美。這些誰是專業從事解讀歷史的藝術因此LN一個困難的境地，因為他們必須帶領的“證據”和“吸引力特別是考慮到不斷增長的需求，在傳統行業創收活動的需求之間的狹窄課程。Ë 它可以聲稱，為了使一切遺產更`real`歷史的準確性，必須不斷改變。例如，猿人直立人被描繪在印尼館用馬來五官，因為這相當於市民的看法。同樣，在自然歷史博物館在華盛頓的博物館，尼安德特人表示做一個佔主導地位的姿態，他的妻子。這樣的演講告訴我們更多地了解世界的當代觀念比我們的祖先。有一個補償，但是，對於誰使這些解釋的專業人士：如果他們不提供解釋，遊客會做自己。根據自己的想法。誤解和偏見。不管多麼令人興奮的結果，它將包含比由專家提供的介紹了很多的偏見。˚F 人為偏差是不可避免的，但偏向於歷史的代表性另一個來源，是因為有材料本身的短暫性。一個簡單的事實是，並不是一切從歷史生存的歷史進程。城堡，宮殿和教堂有更長的壽命比普通百姓的住房。這同樣適用於在挨餓和處所的其他內容。在像萊頓鎮在荷蘭，這在十七世紀由居民今天大約相同數量的佔用，人們住在城牆內的面積比現代萊頓小五倍以上。在大多數的房子幾戶人家一起住在超出我們的想像的情況。然而，在博物館，線週期房間只給了那個時代的上流社會的生活方式的形象。難怪人們誰各地展覽漫步充滿了懷舊之情; 在博物館的證據表明，生命是如此，在過去好多了。這一概念是由它的博物館和遺產中心表示偏差所致。

Kết quả (Trung (Phồn thể)) 3:

的歷史文物的信念,提供約犯錯的証詞是根植於過去的第十九和二十世紀初,當科學被視為目標和價值免費的。 作為一個作家指出:“雖然現在已經很明顯,文物,是很容易改變信仰的記載,市民在其真實性仍在繼續:一個有形跡似乎事實上真的呢!這種信念是,一直到最近,反映在博物館展出。 博物館用來研究--和一些人仍然這樣做--很像儲存室的對象一起裝在展示:好的,學者想要學習的微妙的不同設計,但不為普通游客,其中LT所有研究都一樣。 同樣地,陪同的信息的對象往往沒有什麼意義,奠定的游客。 的內容和格式的解釋追溯到一個時間的博物館時,是專屬領域的科學 研究員.

b 最近態度,不過,歷史的方式,應提交LT有所改變。 在傳統的關鍵詞'經驗顯示,現在的更多令人興奮的更好,如果可能,涉及所有的感覺。 很好的例子,這種做法LN,英國是jorvik中心在日內瓦和紐約;國家博物館的攝影、榆樹時和電視在布拉德福德;和帝國戰爭博物館在倫敦。 在美國的趨勢出現較早前很多。 威廉斯堡已是一個原型,許多傳統發展在其他地方的世界。沒有人可以預測,這一進程將停止。所謂遺產的重新制定的歷史事件是越來越受歡迎,電腦將很快提供虛擬現實經驗,將目前旅客與一個生動形象的期間,他們所選擇的,他們自己可以作為如部分的歷史環境。