美国论文代写：非洲自然历史博物馆

历史上的审美偏好被给予了更多的重视，在教育方面，这没有多大帮助。该案例研究是一个展示画廊空间，配置和观众理解如何在表象上体现物质主义方面的例子。除此之外，意识形态上对美学的关注窃取了代表非洲侨民的必要文化方面。在自然历史博物馆中，研究人员呈现出一种比IU博物馆体验更好的身临其境的感觉。实地博物馆的地理环境发生了变化。在这里，每个展览品的位置都更加引人注目，并且鲜为人知。研究人员认为，这激发了他对非洲文化的了解。

但是，仍有不足之处需要纠正。例如，正如作者指出的那样：“展览的重点是非洲鲜为人知的文化，这令人耳目一新，但不幸的是，这使我很难找到我在非洲的位置。主题墙文字上只有很小的地图指示了设置的位置。因此，随着位置的每次变化，我发现自己都想知道自己在非洲大陆上的去向。此外，从市场向奴隶贸易的转变令人震惊。几乎没有任何准备让我了解导致奴隶制的文化和政治力量，直到突然之间，我进入了牢房。没有更多的主题指南可以使环境具体化，这一事实使情况更加恶化。”

美国论文代写：非洲自然历史博物馆

Historical aesthetical preferences were given more importance and in the educational endeavour, this will not help much. The case study was an example of how gallery space, configuration and audience understanding served to repose a materialistic aspect on representations. Add to this, the ideological focus on aesthetics steals the needed cultural aspects for representing the African diaspora. In the field museum of natural history, researchers present an immersive feel which was much better than the IU museum experience. There was a change in the geographic setting in the case of the field museum. Here each of the exhibits were much more dramatically places, and were lesser known as well, which the researcher felt inspired him to know better about African culture.
However, there were inadequacies still that had to be corrected. For instance, as the author noted, “The exhibit focused on lesser-known cultures in Africa, which was refreshing, but had the unfortunate effect of making it difficult to locate where I was in Africa. Only very small maps on the thematic wall text indicated the location of the setting. Thus, with each change in location, I found myself wondering where I had jumped in the continent. Furthermore, the shift from the market to the slave trade was extremely shocking. There was little to no preparation for me to understand the cultural and political forces leading to slavery until suddenly, I was in a holding cell. This was exacerbated by the fact that there were no more thematic guides to contextualize the environment.”