ca)</P>
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<P><BR>October 2nd - Introduction to Curatorial Academic Writing – part I<BR>Liz Keevil & Gillian Russell</P>
<P>11:00 am (Meet Graduate Centre)</P>
<P>In the first two sessions of week 1 of the course you will be based at Knights Park. During these sessions we will consider the range of study skills you need in order to approach the assessed components of the course.</P>
<P>In this first session, on Tuesday, we will discuss academic writing conventions, and what is involved in writing academically at masters¹ level. We will consider the importance of understanding how to research effectively, think creatively and write critically about your chosen material. We will also consider the skills required for effective presentations.</P>
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<P>October 3rd - Introduction to Curatorial Academic Writing - part II<BR>Liz Keevil & Gillian Russell</P>
<P>11:00am (T28)</P>
<P>In this second session, on Wednesday, we will look at the conventions for the referencing and citation of source material and for producing bibliographies. We will discuss strategies to avoid plagiarism. Both sessions will be useful revision if you have produced academic writing in the past and an invaluable introduction if you haven¹t.</P>
<P>Liz Keevill
[email protected] (note spelling of KEEVILL)</P>
<P><BR>Oct 10th - The Origin and Growth of Museums, with Reference to Decorative Arts Museums<BR>Anthony Burton</P>
<P>The course focuses on the study of the decorative arts in a museum and exhibitionary context, and it is appropriate therefore to begin with a rapid survey of museums. In order to make a massive subject manageable, the lecture highlights aspects of museum history that especially relate to the decorative arts. It will be shown that the history of decorative arts museums, as a special type, is remarkably coherent, even narrow. An attempt is made, thereforeB, to situate the decorative arts within a broader picture of museum practice and theory.</P>
<P>Follow-up<BR>Course members should be prepared to speak, after the lecture, for 2 minutes about a museum they are connected with or know well.</P>
<P>Reading suggestions<BR>Kenneth Hudson, Museums of influence, Cambridge: University Press, 1987.<BR>Tony Bennett, The birth of the museum: history, theory, politics, London: Routledge, <BR>1995.<BR>Charles R. Richards, Industrial Art and the Museum, New York: Macmillan, 1927.</P>
<P>Oct 17th - The Victoria & Albert Museum: Contemporary vs. Historic<BR>Anthony Burton</P>
<P>The V&A Museum is the landmark decorative arts museum in the world – arguably the first, certainly the biggest, and very influential. It has always been a site of contention, and even if many of the motives behind its creation were less than fully articulated, it provided a forum for the testing and refining of many of the significant theories and practices in the museum treatment of the decorative arts. This lecture tracks three themes: the V&A’s early commitment to design reform; the displacement of this by the antiquarian urge to collect; and the V&A’s re-engagement with the contemporary.</P>
<P>Follow-up<BR>In advance of the lecture, course members should visit the V&A, if they have not done so already. They should be prepared to speak, after the lecture, for 2 minutes, on what strikes them as a good aspect of the V&A, and a bad aspect of the V&A.</P>
<P>Reading suggestions<BR>Anthony Burton, Vision & accident: the story of the Victoria and Alb
