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)) 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。