Dissertations / Theses on the topic 'Historical museums – history'
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Tivy, Mary. "THE LOCAL HISTORY MUSEUM IN ONTARIO 1851-1985: AN INTELLECTUAL HISTORY." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2821.
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This thesis is a study of the changing model of the local history museum in Ontario, Canada and the consequential changing interpretations of the past in these institutions. Beginning in 1879, local history museums in Ontario developed largely from the energies of local historical societies bent on collecting the past. While science museums used taxonomy and classification to mirror the natural state of the world, history museums had no equivalent framework for organizing collections as real-world referents. Often organized without apparent design, by the early 20th century a deductive method was used to categorize and display history collections into functional groups based on manufacture and use.
By the mid-twentieth century an inductive approach for interpreting collections in exhibits was promoted to make these objects more meaningful and interesting to museum visitors, and to justify their collection. This approach relied on the recontextualization of the object through two methods: text-based, narrative exhibits; and verisimilitude, the recreation of the historical environment in which the artifact would have been originally used. These exhibit practices became part of the syllabus of history museum work as it professionalized during the mid-twentieth century, almost a full century after the science museum. In Ontario, recontextualizing artifacts eventually dominated the process of recreating the past at museums. Objects were consigned to placement within textual storylines in order to impart accurate meaning. At its most elaborate, artifacts were recontextualized into houses, and buildings into villages, wherein the public could fully immerse themselves in a tableau of the past. Throughout this process, the dynamic of recontextualization to enhance visitor experience subtlety shifted the historical artifact from its previous position in the museum as an autonomous relic of the past, to one subordinate to context.
Although presented as absolute, the narratives and reconstructions formed by these collecting and exhibiting practices were contingent on a multitude of shifting factors, such as accepted museum practice, physical, economic and human resources available to the museum operation, and prevailing beliefs about the past and community identity. This thesis exposes the wider field of museum practice in Ontario community history museums over a century while the case study of Doon Pioneer Village shows in detail the conditional qualities of historical reconstruction in museum exhibits and historical restoration.
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Choi, Kam-lung Franky. "Macau history museum complex." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948684.
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Cook, Bettye Alexander Contreras Gloria. "A chronological study of experiential education in the American history museum." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-5190.
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Brown, Lyndsey S. "Founding Force, Forgotten Focus: A Case Study of Gender Influence Within the Preservation of Historic House Museums, with Emphasis on the Jacobsburg Historical Society's Boulton Historic Site in Pennsylvania." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/162987.
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HistoryM.A.
Historic house museums are the focus of an ideological tension between preservation and interpretation within the public history community. At a time where many house museums are failing, preservationists advocate for solutions to the house museum dilemma focused on saving the building. Historians and other museum professionals point to the importance of the value of the collections, memories, and documents preserved within the house as critical tools for understanding and teaching American history. Of specific focus in this thesis is the role gender influence played in the formation of historic house museums and how an examination of its continuing effect on agency within heritage sites creates access points for cutting-edge public history and interpretation. This is done through a case study of the history of the Jacobsburg Historical Society's Boulton Historic Site in Nazareth, Pennsylvania. The site was the location of the Boulton Gun Works, built in 1812 by the Henry family, manufacturers of the Pennsylvania Longrifle and key members of the early industrial community of Jacobsburg, located just north of the Moravian community of Nazareth.
Temple University--Theses
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Birdwhistell, Benjamin P. "Manipulated Museum History and Silenced Memories of Aggression: Historical Revisionism and Japanese Government Censorship of Peace Museums." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2312.
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The Japanese government has a vested interest in either avoiding discussion of its war-torn past or arguing for a revisionist take. The need to play up Japanese victimization over Japanese aggression during World War II has led to many museums having their exhibits censored or revised to fit this narrative goal. During the 1990’s, Japan’s national discourse was more open to discussions of war crimes and the damage caused by their aggression. This in turn led to the creation of many “peace museums” that are intended to discuss and confront this history as frankly as possible. At the beginning of the 21st century, public discourse turned against these museums and only private museums have avoided censorship. Some museums, like the Osaka International Peace Center, have been devastated by the censorship. This museum and other museums with similar narrative issues raise questions about appropriate narrative on display. What is appropriate to censor for the sake of respect for the dead? What must be included for the sake of historical accuracy and honesty about the past? These questions are investigated at four different peace museums throughout Japan.
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Choi, Kam-lung Franky, and 蔡錦龍. "Macau history museum complex." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982670.
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Cook, Bettye Alexander. "A Chronological Study of Experiential Education in the American History Museum." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5190/.
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This study traced the evolution of experiential education in American history museums from 1787 to 2007. Because of a decline in attendance, museum educators need to identify best practices to draw and retain audiences. I used 16 museology and history journals, books, and archives of museums prominent for using the method. I also interviewed 15 museum educators who employ experiential learning, one master interpreter of the National Park Service, and an independent museum exhibit developer. Experiential education involves doing with hands touching physical materials. Four minor questions concerned antecedents of experiential learning, reasons to invest in the method, the influence of social context, and cultural pluralism. Next is a review of the theorists whose works support experiential learning: Dewey, Piaget, Vygotsky, Lewin, Bruner, Eisner, Hein, and David Kolb plus master parks interpreter Freeman Tilden. The 8 characteristics they support include prior experiences, physical action, interaction with the environment, use of the senses, emotion, social relationships, and personal meaning. Other sections are manifestation of experiential learning, transformation of history museums, and cultural pluralism in history museums. The research design is descriptive, and the procedure, document analysis and structured interview. Findings are divided by decades after the first 120 years. Social context, examples of experiential learning, and multicultural activities are detailed. Then findings are discussed by patterns of delivery: sensory experiences, actions as diversion and performance, outreach of traveling trunks and of organized activity, crafts as handwork and as skills, role-playing, simulation, hands-on museum work, and minor patterns. The decline of involvement of citizens in the civic and cultural life of the community has adversely affected history museums. Experiential learning can stop this trend and transform museum work, as open-air museums and the National Park Service have demonstrated. In the future history museums may include technology, a more diverse audience, and adults in its experiential educational plans to thrive. Further research is needed on evaluation, finances, and small museums.
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Smith, Charlotte H. F. "The house enshrined : great man and social history house museums in the United States and Australia /." Online version, 2002. http://bibpurl.oclc.org/web/24545.
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Pienoski, Christine Marie Pienoski. "Pyramids of Lake Erie: The Historical Evolution of the Cleveland Museum of Art's Egyptian Collection." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461522282.
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Wagner, Krista Ann. "Farbs, Stickjocks, and Costume Nazis: A Study of the Living History Subculture in Modern America." Youngstown State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1196710568.
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Poirrier, Lauren. "A Comparative Study of the National First Ladies' Library and the Women's Rights National Historical Park." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1277819335.
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Costa, Carina Martins. "Uma arca das tradições: educar e comemorar no Museu Mariano Procópio." reponame:Repositório Institucional do FGV, 2011. http://hdl.handle.net/10438/8991.
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This thesis is a reflection on the making o Brazilian History writings in museums since the 1920s, a central moment for the establishment of a republican 'pedagogy of nationality' based on museal support. Some of the political-pedagogic efforts of those institutions were observed in order to understand the chief characteristics of an educational paradigm for historical knowledge in museums. Thus, the analysis of civic celebrations, guides and expositions allowed an approximation of the memorial activations of museum actors, with special attention to the continuities, negotiations and transformations o the projects, particularly in their pedagogic dimension. Mariano Procópio Museum was chosen as a case study both due to its specificities, which leads us to understand the 'concert' of national museums from the countryside, and to the relevance of its collection and the intensity of educational actions developed under the Geralda Armond management (1944-1980). The Armond management in the center of this thesis, marked by the defense of institutional continuity and of the framing of the Lage family memory; by the struggle of the material maintenance of the museum, with a close approximation to the civilian and military regime; and by the search for the professionalization of personnel and for dynamism in actions. The results highlight the multiplicity and fragility of the museum’s identity formation, associated to the fact that it is a 'municipal' museum. A situation which explains, at least in part, its oblivion in the national scene, despite its expressive collection and its articulation with the school system, through the strengthening of the civic sense of its pedagogic actions.
Esta tese é uma reflexão sobre a construção de escritas da História do Brasil em museus, a partir da década de 1920, momento fulcral para o estabelecimento de uma 'pedagogia da nacionalidade' republicana, que tem por suporte o discurso museal. Alguns dos esforços político-pedagógicos dessas instituições foram observados, com o objetivo de compreender as principais características de um paradigma educativo para o saber histórico nos museus. Assim, a análise das comemorações cívicas, dos guias de divulgação e das exposições permitiu uma aproximação das ativações memoriais ensejadas pelos atores dos museus, com atenção para as continuidades, as negociações e as transformações dos projetos, especialmente em sua dimensão pedagógica. O Museu Mariano Procópio foi selecionado para a realização de um estudo de caso, tanto por suas especificidades, que nos induzem a pensar o 'concerto' dos museus nacionais a partir do interior do país como pela relevância de seu acervo e pela intensidade de ações educativas desenvolvidas na gestão de Geralda Armond (1944-1980). A gestão Armond é o foco da tese, sendo marcada pela defesa da continuidade institucional e do enquadramento da memória da família Lage; pela luta pela sustentação material do Museu, inclusive com uma forte aproximação com o regime civil e militar; e pela busca da profissionalização de quadros e do dinamismo das ações. Os resultados atentam para a multiplicidade e fragilidade na construção identitária do Museu, associada ao fato de ser um museu 'municipal'. Uma situação que explica, ao menos em parte, seu esquecimento no cenário nacional a despeito de seu acervo expressivo e das articulações encetadas com o sistema escolar, por meio do fortalecimento do sentido cívico de suas ações pedagógicas.
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Lauer, John. "The war and race museum : adding African-American history to the Cyclorama." Thesis, Georgia Institute of Technology, 1994. http://hdl.handle.net/1853/23097.
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Stanek, Lucas J. "Claiming Spaces, Claiming the Past: Tourism and Public History in Xi'an, China since the 1990s." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1501170379686393.
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Sippel, Elizabeth. "The role of memory, museums and memorials in reconciling the past : the Apartheid Museum and Red Location Museum as case studies." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1005773.
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When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth.
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Cole, Edward. "Handle with care : historical geographies and difficult cultural legacies of egg-collecting." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7800/.
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This thesis offers an examination of egg-collecting, which was a very popular pastime in Britain from the Victorian era well into the twentieth century. Collectors, both young and old, would often spend whole days and sometimes longer trips in a wide variety of different habitats, from sea shores to moorlands, wetlands to craggy mountainsides, searching for birds’ nests and the bounty to be found within them. Once collectors had found and taken eggs, they emptied out the contents; hence, they were really eggshell collectors. Some egg collectors claimed that egg-collecting was not just a hobby but a science, going by the name of oology, and seeking to establish oology as a recognised sub-discipline of ornithology, these collectors or oologists established formal institutions such as associations and societies, attended meetings where they exhibited unusual finds, and also contributed to specialist publications dedicated to oology. Egg-collecting was therefore many things at once: a culture of the British countryside, from where many eggs were taken; a culture of natural history, taking on the trappings of a science; and a culture of enthusiasm, providing a consuming passion for many collectors. By the early twentieth century, however, opposing voices were increasingly being raised, by conservation groups and other observers, about the impact that egg-collecting was having on bird populations and on the welfare of individual birds. By mid-century the tide had turned against the collectors, and egg-collecting in Britain was largely outlawed in 1954, with further restrictions imposed in 1981. While many egg collections have been lost or destroyed, some have been donated to museums, including Glasgow Museums (GM), which holds in its collections over 30,000 eggs. As a Collaborative Doctoral Award involving the University of Glasgow and GM, the project outlined in this thesis aims to bring to light and to life these egg collections, the activities of the collectors who originally built them, and the wider world of British egg-collecting. By researching archival material held by Glasgow Museums, published specialist egg-collecting journals and other published sources, as well as the eggs as a material archive, this thesis seeks to recover some of the practices and preoccupations of egg collectors. It also recounts the practical activities carried out during the course of the project at GM, particularly those involving a collection of eggs newly donated to the museum during the course of this project, culminating in a new temporary display of birds’ eggs at Glasgow Museums Resource Centre.
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Smith, Lauren. "The Politics of the Visitor Experience: Remembering Slavery at Museums and Plantations." Ohio University Art and Sciences Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouashonors1587733890900649.
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Mnyaka, Phindezwa Elizabeth. "Re-tracing representations and identities in twentieth century South African and African photography: Joseph Denfield, regimes of seeing and alternative visual histories." Thesis, University of Fort Hare, 2012. http://hdl.handle.net/10353/540.
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The thesis examines the photographic collection of Joseph Denfield, an archivist and historian who experimented with photography over a twenty-year period. The study is located within the field of critical visual studies that focuses on historical photography in its depiction of identities and groups in the context of social change. The thesis pays attention to the manner and extent to which Denfield participated in regional visual economies at various moments during his photographic career in order to establish his contribution towards a visual history in Africa and more broadly Southern Africa. It follows Denfield’s career trajectory chronologically. It begins with a study of his photographic work in Nigeria which was oriented around so-called ‘pagan tribes’ and which was framed within the discourse of ethnography. It then pays attention to his growth as an artist in photography that resulted from years of exhibiting in salons. I read these photographs and texts in relation to his earlier work in Nigeria given the extent to which he drew on anthropological discourses. It is through his involvement with photographic art circles that Denfield developed as a historian as a result of his research into the history of photography and regional visual histories. This took the form of both unearthing historical photographs as well as photographing historical sites to construct the past in particular ways through the visual. At each stage he translated these histories into public forms of representation and power thus he figures among a small group of ‘colonial’ photographers that shaped the visual economy of Southern Africa. Through a detailed study of his work, the thesis thus aims to re-think through new dimensions of visual culture.
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Webster, Daniel Joseph. "Experiencing the World of Franklin: The Making of an Immersive and Interactive Historical Exhibit." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5562.
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This thesis involves the creation of a historically-themed museum element. The element, titled “Improving Community,” is a virtual interactive game that allows players to explore certain realities of colonial American life. Within the game, players are presented with a number of civic-related issues that existed throughout the eighteenth century, and they are then given options to improve the situation. Interactivity and immersion are key features of the game, and they have been incorporated so that players may engage with the past and assume a more active role in the process of historical reconstruction. Research for the games draws mostly upon historical primary sources, including first-hand accounts, letters, diaries, periodicals, pamphlets, meeting minutes, and legal documents. In addition, the process of developing the games was informed by a number of secondary source works, and therefore this study inspects the ways in which “Improving Community” fits within the ongoing scholarly debates. Ultimately this project contributes to the field of public history by demonstrating the usefulness of games as a tool for historical exhibition. “Improving Community” is both entertaining and educational, and as a result, the game provides individuals with a unique outlet for exploring and experiencing the past.ID: 031001287; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Title from PDF title page (viewed February 26, 2013).; Thesis (M.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 111-120).
M.A.
Masters
History
Arts and Humanities
History; Public History
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Bare, Steven A. ""'The Sinews of Memory:' The Forging of Civil War Memory and Reconciliation, 1865-1940"." University of Toledo / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1553755702050774.
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Wise, Emily D. "Development Strategies of Historic House Museums." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1216866930.
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Barker, Lesley Aileen Pendleton. "Repurposing museum interpretation in American historic house museums." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/41082.
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To investigate whether the American historic house museum sector preserves evidence of past inter-cultural encounters that could increase its relevance to today’s scholars and audiences, I charged a seven-member team made up of members from different ethnic, socio-economic, educational and generational backgrounds to visit and produce photographs at three historic house museums in St. Louis, Missouri. The photo-voice data was created, gathered, and submitted by the participant team members at the height of the social unrest triggered by Ferguson and the Black Lives Matter movement. It argues for the relevance and sustainability of the historic house museum sector as a venue for the development of new approaches to understanding past intercultural encounters and, in fact, to suggest redesigning the way museum interpretation is practiced. The visual data provided by the participant team for this dissertation demonstrates how people bring their own perspectives to respond to, critique, question and embrace what the museum asserts and displays about past inter-cultural encounters. The research suggests that the museum has the potential to shift its interpretive role and practice from knowledge broker and expert to become an interpretive space where new hermeneutics-informed understanding in the tradition of Gadamer continually emerges iteratively through the interaction invited between the museum, its content, and the various members of its audiences. It argues that, if the museum is to remain relevant, especially in particularly difficult moments, it has to provide a space to honor and respectfully both solicit and receive the voices, understandings, and even the pain experienced by each member of the affected community.
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Axelsson, Cecilia. "En Meningsfull Historia? : Didaktiska perspektiv på historieförmedlande museiutställningar om migration och kulturmöten." Doctoral thesis, Växjö universitet, Institutionen för humaniora, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2559.
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This thesis concerns the mediation of history in a public arena in society, namely in historical exhibitions in museums. The foci of the thesis are exhibitions on migration history, cultural encounters, “Us” and “the Others”, and in particular how relations based on the principles of class, gender and ethnicity are mediated. The research concerns two exhibitions – "Afrikafararna" (The Travellers to Africa) and "Kongospår" (Traces of Congo). In this thesis museums are viewed as arenas for public education and meaning-making. It explores how the historical contents as well as the forms of mediation in the exhibitions correspond to the task of promoting democracy that has been assigned to Swedish museums. This task is expressed in the intentions of the respective museums, in the general policies on culture and also in the policy documents for schools. Therefore the thesis also explores how pupils and teachers understand the mediation of history and use the museum as a source for learning. Exhibitions are regarded in this thesis as mediation processes of history. Three distinct phases can be seen in this process – the phase of production, the phase of mediation and the phase of reception. People connected to the different phases, such as curators, producers, museum educators, and pupils, have been interviewed. These interviews show how conditions, convictions and scope for action influence how the stories of migration and cultural encounters are told and understood. The contents of the exhibitions are analysed from a perspective of class, gender and ethnicity. Furthermore, the limitations and possibilities for the visitors to intensify their historical consciousness are discussed. The study shows how economic conditions and access to historical source material influence the way history is mediated, but also, and to a very large extent, convictions on pedagogy and concepts of history among museum staff. The latter two are determining factors when it is made clear that the way the historical source material is used results in the fact that history is mediated in a way that does not correspond to the intentions and goals to promote democratic values, such as equality, and active democratic readiness for action. The study shows that the exhibitions in question mediate patterns of subordination and asymmetrical relations between women and men and between Swedes/Scandinavians and Africans in their mediation of history. There are sometimes very distinct lines between “Us” and “the Others”. One of the exhibitions offers more space for individual meaning-making and reflection than the other, however, because of its problematization of the occurrence of African artefacts in Scandinavia and because there are more stories and more voices in the exhibition. The interviews with teachers and pupils show that the visits to the exhibitions are often isolated events that are rarely incorporated into the students’ education in a prolonged theme or perspective. Several students uncritically accepted the mediation in the exhibition, others were provoked and challenged, but the students had little opportunity to discuss these experiences in either the museum or in school. In summing up, several of the results of the analysis show that the mediation of history in the exhibitions cannot be described as corresponding to the demands of a democratic conception of education.
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Pollinger, Maegan. "PLANTING SEEDS OF CHANGE: GARDEN SPACES AND THE SURVIVAL OF HISTORIC HOUSE MUSEUMS IN CRISIS." Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/442350.
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HistoryM.A.
This study explores the use of gardens and agricultural spaces at historic house museums, and the potential these spaces have for supporting positive change. At the turn of the twenty-first century, house museums grappled with a crisis of limited funding and ever shrinking visitor capacity, which continues to affect the success of these spaces today. I argue that garden spaces can provide interpretive revitalization, community relevancy, and increased income for historic house museums that can positively support a house museum. By surveying house museums throughout New Jersey and Pennsylvania, I show that garden spaces provide a tool for house museums to gain stability amidst crisis.
Temple University--Theses
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Bassett, Jennifer Leigh. "Hurricanes and historic house museums discovering the essential guidelines in a historic house museum disaster plan /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0024629.
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Butler, Melissa. "A study of visitation at living history farms and agricultural museums." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 130 p, 2006. http://proquest.umi.com/pqdweb?did=1203585101&sid=3&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Geise, Susanne Seybold. "From Ambiguity to Perspicuity: Applying Burke's Pentad as a Means of Preserving and Expanding the Discourse Community of Blacksmithing History in Hancock County." University of Findlay / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1525801452672734.
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Chiu, Sai-chung Cary. "Redevelopment of San Wai." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944976.
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Cid, Maria Rosa Lopez. "Miranda Ribeiro: um zoólogo evolucionista nos primeiros anos da República (1894-1938)." reponame:Repositório Institucional da FIOCRUZ, 2009. http://www.arca.fiocruz.br/handle/icict/15963.
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Fundação Oswaldo Cruz. Casa de Oswaldo Cruz. Rio de Janeiro, RJ, Brasil.
Miranda Ribeiro construiu, a partir de seu trabalho, a reputação de grande zoólogo e especialista em peixes. Aprendeu a fazer ciência na prática com aqueles pesquisadores que foi conhecendo desde o momento em que iniciou suas atividades no Museu. Alguns desses pesquisadores foram, muito provavelmente, responsáveis pela orientação metodológica que deu aos seus trabalhos. E, além de sua grande capacidade de aprendizado, de sua organização e capacidade de trabalho, e, também como conseqüência dessas qualidades, Miranda Ribeiro estabeleceu relações com os cientistas mais importantes que trabalhavam no Brasil e muitos cientistas estrangeiros, renomados em suas áreas de pesquisa. O zoólogo do Museu Nacional tinha grande interesse em conhecer a fauna (principalmente a vertebrada) brasileira e se destacou no campo da taxionomia identificando e classificando muitos animais brasileiros. Seu método para classificá-los tinha como referência a origem comum dos seres vivos, que era uma das teorias que integrava o darwinismo. Embora, em seus trabalhos, abuse das descrições morfológicas e anatômicas, partindo do princípio de que os grupos de organismos tiveram uma origem comum, a morfologia, a anatomia, a fisiologia, a embriologia semelhantes entre certos 12 grupos podem ser explicadas a partir de ancestrais comuns que sofreram processos de especiação. É isso que Miranda Ribeiro tenta mostrar em seus trabalhos, mesmo durante um período em que o darwinismo já não era tão popular. Assumindo a opinião, comum a muitos de seus contemporâneos, de que produzir ciência de qualidade em instituições bem organizadas era a única maneira de contribuir para o progresso econômico e social do país, que se achava em dificuldades pela mudança de regime político, pelos problemas com a população miscigenada, que era considerada incapaz, com as epidemias que assolavam o país, com as pragas que atacavam a agricultura, principal fonte econômica na época, Miranda Ribeiro, sempre que tinha oportunidade, discursava a favor da ciência, dos cientistas e das instituições científicas. Realizou, através de seus trabalhos, tudo o que lhe foi possível para valorizar e especializar as ciências biológicas, defendendo referenciais teóricos que estavam ligados ao evolucionismo, tomando como modelos de cientistas, Darwin e Müller, principalmente.
Because of his work, Miranda Ribeiro has built the reputation of being a great zoologist and fish specialist. He learned science by practicing it with those researchers who he met while developing his activities in the Museum. It is highly likely that some of these researchers were responsible for the methodological orientation with which Miranda Ribeiro developed his works. Besides his great learning and working ability as well as his organization, and also as a consequence of these skills, Miranda Ribeiro established contact with the most important scientists in Brazil at the time and many foreign scientists who were all renowned in their fields of expertise. The zoologist of the National Museum had great interest in knowing the Brazilian fauna (specially the vertebrate ones) and had distinguished himself in the field of taxonomy by identifying and classifying many Brazilian animals. His method to classify these animals had, as a reference, the common origin of living beings, which was one of the theories that integrated Darwinism. Miranda Ribeiro tends to be very descriptive concerning morphological and anatomical aspects. Even though, if we consider that groups of organisms had a common origin, morphology, anatomy, physiology and embryology that are similar among certain groups can be explained by their common ancestors that suffered 12 processes of speciation. That is exactly what Miranda Ribeiro tries to demonstrate through his works, although it was a period of time when Darwinism was not so popular. Holding the opinion, common to many of his contemporaries, that producing quality science in well organized institutions was the only way to contribute to the economical and social development of the country (which had difficulties due to the change of the political regime, the problems concerning multiethnic population who was considered incapable, the different kinds of epidemy that afflicted the country and the plagues that attacked agriculture, which was the main economical source at the time) – Miranda Ribeiro, whenever he had the opportunity, provided speeches defending science, scientists and scientific institutions. He realized, throughout his works, everything that was possible to attribute value and specialize biological sciences, defending theoretical references that were linked to volutionism, using mainly Darwin and Muller as role models.
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Könyves, Kasper, and Max Orrenius. "En intervjustudie om Örebro läns museums pedagogiska verksamhet." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-60975.
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Uppsatsen syftar till att söka förståelse kring hur Örebro läns museum kan vara en pedagogisk resurs för skolan, med fokus på historieundervisningen. Efter att ha läst in oss på forskningsfältet museologi fick vi reda på museers olika uppdrag. Utifrån uppdragen fann vi en intressant ingång till skola och utbildning kopplat till museers senaste tillskrivna uppdrag, som framförallt handlar om att museer ska komplettera skolornas pedagogiska verksamhet. I det här uppdraget blev museipedagogik, besöksstudier och lärandet inom museer viktiga områden att fördjupa sig i. Därmed började vi studera och fördjupa oss i flertalet avhandlingar och artiklar som uppmärksammade dessa teman. Utifrån den tidigare forskningen fick vi förståelse för hur och vad museer kan bidra med till skolor och undervisning. I forskningsavsnittet synliggjordes framförallt att det fanns historiska värden samtidigt som det poängterades att det behövs fler studier som behandlar hur museipedagogiken upplevs och uppfattas av utomstående. Därmed fann vi det intressant att vidare undersöka hur specifikt Örebro läns museum kan vara ett pedagogiskt hjälpmedel i relation till historieundervisningen. Valet av museet och inriktningen på historia grundar sig förutom på tidigare forskning också på att vi läser till historielärare på Örebros universitet och ansåg att det skulle vara intressant att studera nya undervisningsmiljöer. För att lyckas förstå hur Örebro länsmuseum kan vara ett verktyg för historieundervisningen valde vi att använda oss av kvalitativa intervjuer i form av expertintervju och semi-strukturerade intervjuer. Expertintervjun genomfördes med museipedagogen på Örebro läns museum för att förstå verksamhetens pedagogiska möjligheter i relation till historieundervisningen. De semi-strukturerade intervjuerna gjordes på två historielärare och tre elever från ett högstadium som nyligen besökt Örebro läns museum. Syftet med intervjuerna var att skapa förståelse kring hur dessa aktörer upplever och uppfattar verksamheten. Därefter har vi kunnat utläsa att det museipedagogen förespråkar stämmer förhållandevis väl överens med vad båda lärare och elever tycker och upplever, men det finns en del områden som kan utvecklas och förbättras. Förhållningssättet gentemot att använda museer i historieundervisningen framhävs som positivt av samtliga involverade i undersökningen. Vi har kunnat utläsa flertalet intressanta användningsområden utifrån historieundervisningen och den lärandepotential som finns med Örebro läns museum, trots det finns det fortfarande en del faktorer som gör museibesöken problematiska.
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Maust, Theodore. ""Most Historic Houses Just Sit There"| Activating the Present at Historic House Museums." Thesis, Temple University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10793092.
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Historic house museums (HHMs) are contradictory spaces, private places made public. They (often) combine the real with the reproduction. Drawing from object reverence, taxonomy, and tableaux over a century and a half of practice, the American HHM arrives in the present as a Frankenstein's monster of nostalgia.
Chamounix Mansion has been a youth hostel since 1964. It has also been a historic house museum, though when it became one and when—if—it ever stopped being one is an open question. Chamounix is a space where the past, present, and future all share space, as guests move through historic spaces, have conversations about anything or nothing at all, and plan their next day, their next destination, their next major life move. It is a place that seems fertile for meaning-making. It also provides a fascinating case study of what HHMs have been and what they might become.
The Friends of Chamounix Mansion employed the methods of other HHMs as it tried to achieve recognition as an HHM in the 1960s, but by the 1980s, they began claiming the hostel’s usage as another form of authenticity.
As HHMs face a variety of challenges today, and seek to make meaning with visitors and neighbors alike, the example of Chamounix Mansion offers a case study of how embracing usage might offer new directions for meaning-making.
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Ramirez, Ana Cecília Escobar. "Narrativas en disputa : el Museo Nacional de Colombia en la Gestión de Emma Araújo de Vallejo (1975-1982)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/157552.
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O presente trabalho de mestrado propôs identificar as narrativas que se estabeleceram no projeto que buscou modernizar o Museu Nacional da Colômbia, na administração de Emma Araújo de Vallejo entre 1975 e 1982, a partir da confluência de três campos, a História Cultural, a História da Educação e a Museologia. Pode-se estabelecer que a proposta abrangeu dois aspectos: a reorganização administrativa do museu e a readequação das salas de exposição, que incluiu uma intervenção arquitetônica ao edifício. Metodologicamente o trabalho vincula-se ao conceito de Morales Moreno de interferência museográfica e ao referido por Zita Possamai e Marília Xavier Cury sobre o processo de musealização, para o tratamento dos documentos textuais: manuscritos, registros das comissões estruturadas (de Arquitetura, de História e da Arte), contratos, estudos arquitetônicos, propostas e relatórios, como para os de caráter mais visual: catálogos, fotografias, planos, desenhos, entre outros, entendendo que a narrativa histórica de um museu é por sua natureza diferente à encontrada no documento escrito. As discussões teóricas são determinadas em dois âmbitos, o que se refere a entender o museu como lugar da memória e as suas implicações; e o refletir sobre o que faz que um museu seja nacional. Para isto, autores como Myrian Sepúlveda dos Santos, Regina Abreu, Luis Gerardo Morales Moreno, Beatriz González, Ana Claudia Fonseca Brefe, Camilo de Mello Vasconcelos e Cecília Oliveira contribuem para a discussão, entendendo o museu como um lugar de reelaboração da memória e as narrativas como representações, o que converte este espaço em local de disputas. O trabalho salienta que o objetivo central deste projeto é duplo: tornar o museu um grande livro de história e fazer uma atualização face as novas correntes da Museologia. Deste modo, o Museu Nacional alcançava a qualificação constante do pessoal, a diversificação de serviços para o público, a criação do Departamento Educativo e uma gestão consciente das suas coleções. Sobre a exposição de longa duração é observado que o segundo andar, que corresponde às salas de história, não rompe a periodização tradicional e, além disso, se salienta a origem da nação nas figuras de Bolívar e Santander como pessoas eminentes da Independência. No terceiro andar, nas salas de belas artes, não só se encontram os artistas que tradicionalmente eram expostos, mas também foi incluída a vanguarda conformada pelos “novos”. As influências que o museu recebe são de Ulrich Löber, no período assessor internacional, de Pierre Francastel e Marta Traba, por intermédio da diretora, e da Colcultura e da ACOM, os quais instauraram os debates sobre museus na Colômbia. Conclui-se que a consciência do poder que possui o museu para incluir e excluir, através das suas narrativas, poderia ser o grande ensino desta administração, em um momento onde todos pedem o seu espaço de representação.This master´s thesis proposes to identify the narratives that were established in the project that tried to modernize the National Museum of Colombia, under Emma Araújo's management between 1975 and 1982, from three fields, the Cultural History, the History of the Education and the Museology. It was possible to define that the offer contained two aspects: the administrative reorganization of the museum and the re adequacy of the exhibition, which included an architectural intervention to the building. Methodologically, adheres to the proposed for Morales about the concept of “interferencia museográfica” and which was said by Possamai and Cury about of the “procesos de musealización”, for the treatment so much for the textual documents: scripts, the acts of the commissions (of Architecture, History and Art), contracts, architectural studies, offers and reports, since of the visual ones: catalogues, photography’s, planes, drawings, among others, understanding that the historical own narrative of a museum is for his nature different from the contained one in the written document. The theoretical discussions are given in two areas: the museum as place of memory and his implications, and the reflections about what does that a museum a national one. For this, authors like Maria Sepúlveda dos Santos, Regina Abreu, Luis Morales, Beatriz Gonzalez, Ana Maria Brefe, Camilo de Mello Vasconcelos, and Cecilia Olivieira open the discussion understanding the museum as a place of reproduction of the memory and considerate the narratives as representations, which turns this space place of disputes. The work highlights that the central aim of this project was double: the museum turns a great book of history, and putting to the currents ideas about museology. From this, the National Museum achieves a constant training of the staff, the diversification of services for the public, the creation of the Educational Department, and a conscious management of collections. As for the exhibition is observed that the second floor, which they correspond to the rooms of history, does not break with the habitual periodization, and highlights the origin of the nation in the figures of Bolivar and Santander as leaders of the Independence. In the third floor, the rooms of arts, they show not only the artists who traditionally had been there, but they included the vanguard of the new ones. The influences that this new museum receives are from Ulrich Löber, as international adviser, of Pierre Francastel and Marta Traba, across his director, and of Colcultura and ACOM, who implant the debates on museums in Colombia. It concludes that the conscience of the power that possesses the museum to include and to exclude across his narratives might be the great education of this administration, in a moment where they all ask for his space of representation.
Este trabajo de maestría se propone identificar las narrativas que se establecieron en el proyecto que pretendió modernizar el Museo Nacional de Colombia, bajo la gestión de Emma Araújo de Vallejo entre 1975 y 1982, desde tres campos, la Historia Cultural, la Historia de la Educación y la Museología. Se pudo definir que la propuesta contuvo dos aspectos: la reorganización administrativa del museo y la readecuación del montaje, que incluyó una intervención arquitectónica al edificio. Metodológicamente se adhiere a lo propuesto por Morales sobre la interferencia museográfica y lo dicho por Possamai y Cury sobre los procesos de musealización, para el tratamiento tanto de los documentos textuales: guiones, las actas de las comisiones conformadas (de Arquitectura, de Historia y de Arte), contratos, estudios arquitectónicos, propuestas e informes, como de los visuales: catálogos, fotografías, planos, dibujos, entre otros, entendiendo que la narrativa histórica propia de un museo es por su naturaleza diferente a la contenida en el documento escrito. Las discusiones teóricas se dan en dos ámbitos, el que se refiere al entender al museo como lugar de memoria y sus implicaciones, y el de pensar qué hace que un museo sea nacional. Para esto, autores como María Sepúlveda dos Santos, Regina Abreu, Luis Morales, Beatriz González, Ana Maria Brefe, Camilo de Mello Vasconcelos, y Cecilia Olivieira abren la discusión entendiendo el museo como un lugar de reelaboración de la memoria y entendiendo las narrativas como representaciones, lo cual convierte este espacio en lugar de disputas. El trabajo resalta que el objetivo central de este proyecto fue doble: volver el museo un gran libro de historia, y el de ponerlo al corriente de las actuales corrientes de la museología. De esta forma, el Museo Nacional logra una constante capacitación del personal, la diversificación de servicios para el público, la creación del Departamento Educativo, y una consciente gestión de colecciones. En cuanto al montaje de la exposición de larga duración, se observa que el segundo piso, que corresponden a las salas de historia, no rompe con la periodización habitual, y resalta el origen de la nación en las figuras de Bolívar y Santander como próceres de la Independencia. En el tercer piso, las salas de bellas artes, se reúnen no sólo a los artistas que tradicionalmente habían estado ahí, sino que incluyeron a la vanguardia conformada por los nuevos. Las influencias que recibe este nuevo museo vienen dadas por Ulrich Löber, como asesor internacional, de Pierre Francastel y Marta Traba, a través de su directora, y de Colcultura y ACOM, quienes implantan los debates sobre museos en Colombia. Se concluye que la conciencia del poder que posee el museo para incluir y excluir a través de sus narrativas podría ser la gran enseñanza de esta administración, en un momento donde todos piden su espacio de representación.
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Avila, Ana Carolina Xavier. "Museus históricos e pedagógicos no século XXI: processo de municipalização e novas perspectivas." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-15012015-103050/.
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No decorrer dos últimos vinte e oito anos, o governo do Estado de São Paulo vem empenhando esforços para o que, atualmente, tem chamado de \"municipalização\" da Rede de Museus Históricos e Pedagógicos do Estado de São Paulo. Tal conjunto, reconhecido como a primeira e maior rede de museus do País, criado, em sua grande parte, por Vinício Stein Campos - profissional da educação -, ao longo dos anos foi entendido como de caráter eminentemente municipal; a partir disto, compreendeu-se no cerne da Secretaria de Estado da Cultura, que tais acervos deveriam ser legitimamente devolvidos a seus municípios, dadas as suas características e significado junto às comunidades locais. O texto Museus Históricos e Pedagógicos no Século XXI: processo de municipalização e novas perspectivas pretende levantar, registrar e analisar o desenrolar do processo de municipalização dos Museus Históricos e Pedagógicos do Estado de São Paulo, ainda em andamento, e as possíveis modificações que poderá trazer a estas instituições, tanto em aspectos administrativos quanto técnicos e conceituais. A partir de um panorama geral da constituição da Rede de Museus Históricos e Pedagógicos, desenvolvida no decorrer das décadas de 1950, 1960 e 1970, examinam-se, inicialmente, as motivações para a transferência de tutela dos acervos estaduais, localizados no interior de São Paulo, aos municípios que os sediam. Posto isto, pondera-se, por meio da realização de estudos de caso, sobre os impactos que tal processo gerou e vem gerando nestas instituições museológicas, bem como avaliam-se as possíveis perspectivas a elas oferecidas sob o aspecto da gestão, tanto museológica como de equipamentos municipais de cultura.The State Government of São Paulo has applied its efforts in the past twenty eight years in order to accomplish the currently so called municipalization of the Statewide Historic and Pedagogical Museums Network of São Paulo. This set of museums, recognized as the first and largest museums network of the country and mostly created by Vinício Stein Campos (pedagogical professional), was understood, throughout the years, as having an eminently municipal nature; for this reason, the Secretary of State for Culture, at its core, realized that these collections should be legitimately given back to their towns due to their characteristics and meanings concerning the local communities. The text Historic and Pedagogical Museums in the 21st century: municipalization process and new perspectives intends to research, register and analyze the development of the process of municipalization of the Historic and Pedagogical Museums of São Paulo, which is still in progress, and the possible changes it may bring to these institutions, concerning management, technical and conceptual issues. Starting from a general overview of the constitution of the Historic and Pedagogical Museums Network, developed during the decades of 1950s, 1960s and 1970s, were examined, at first, the motivation for the custody transference of the statewide collections, located in São Paulo countryside, to their host towns. As a result, it analyzes, through the realization of case studies, the impacts such process has been generating over these museological institutions, and also evaluates the possible perspectives it gives to them concerning management, both museological management and municipal culture device management.
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Silva, Ana Celina Figueira da. "Investigações e evocações do passado : o Departamento de História Nacional do Museu Julio de Castilhos (Porto Alegre-RS, 1925-1939)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/180928.
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Este trabalho analisa o início da transformação do Museu Julio de Castilho (Porto Alegre-RS) de um museu de caráter enciclopédico, que priorizou durante as suas duas primeiras décadas as coleções de ciências naturais, a um museu histórico, tomando como recorte temporal o período compreendido entre 1925 e 1939, relativo à gestão do segundo diretor da instituição, Alcides Maya. Insere o surgimento do MJC, no ano de 1903, no contexto da Era brasileira de museus, quando predominavam os museus de caráter enciclopédico, bem como vincula o seu processo de especialização rumo à história ao declínio desse movimento no final dos anos 1920, mas também incorporando a essa transformação fatores de ordem interna regional, ressaltando o papel central de Maya nessa mudança. Descreve o surgimento dos museus de história na Europa, enfatizando os museus franceses do século XIX como os modelos seguidos na constituição de instituições congêneres no Brasil, as quais, através da exposição de imagens e objetos de personalidades e eventos de exceção, assumiram uma função evocativa e celebrativa do passado na constituição da identidade nacional. Identifica-se, no que se refere à identidade regional do Rio Grande do Sul, essa mesma função no MJC, com a formação das coleções de objetos e imagens dos políticos e militares envolvidos fundamentalmente na Guerra dos Farrapos A partir da documentação administrativa, a tese apresenta a formação do acervo das seções do Departamento de História Nacional do MJC, destacando o papel de Eduardo Duarte nesse trabalho, procurando identificar a relação entre a produção historiográfica elaborada no período em análise e a constituição das coleções do Museu. Examina ainda a criação de uma Pinacoteca Histórica no MJC com a intenção de representar os personagens e locais considerados importantes para a história sul-rio-grandense, identificando o investimento do governo do estado na visualização do passado descrito nos documentos do Arquivo Histórico na configuração da identidade regional relacionada ao passado farroupilha. Identifica as concepções de história moderna e clássica operando, respectivamente, no Arquivo Histórico e nas demais seções do Departamento de História Nacional do MJC. Por meio destes procedimentos, a pesquisa buscou compreender a concepção de história (e outras noções a ela atinentes, como documento histórico, autenticidade e tempo).This study aims to analyze the initial transformation of Júlio de Castilhos Museum in the city of Porto Alegre, State of Rio Grande do Sul, from one of encyclopedic nature that prioritized natural sciences collections into an historical museum during its first two decades, comprising the period between 1925 and 1939, under the management of Alcides Maya, the second director of the institution. The study inserts the emergence of the MJC (Júlio de Castilhos Museum) in the year 1903 into the Brazilian Museum Era context, when museums of an encyclopedic nature prevailed, as well as links its specialization process towards history to the decline of this trend in the late 1920s, which also included factors of internal regional nature, emphasizing Maya's central role in this change. It describes the emergence of history museums in Europe, emphasizing 19th century French museums as models for the establishment of similar institutions in Brazil which, through the exhibition of images, personality objects and exception events, took on an evocative and celebrative function of the past in making up a national identity. As to the regional Rio Grande do Sul identity, that same MJC role could be identified, with the formation of memorabilia collections of objects from politicians and the military involved mainly in the Guerra dos Farrapos (Farrapos War) From the administrative documentation, the dissertation presents the MJC collection of the Department of National History sections, highlighting Eduardo Duarte's role and trying to identify the relationship between the historiographic production developed in the period under analysis and the formation of the Museum collections. It also examines the creation of a Historical Art Gallery by MJC with the intention of representing characters and places thought to be important for the history of Rio Grande do Sul, identifying the investment of the State government in displaying the past described in the Historical Archive documentation and in setting a regional identity related to the Farroupilha Revolution past. Finally, it identifies modern and classical history conceptions by analyzing both the Historical Archive and in other sections of the MJC Department of National History. Through these procedures, the research sought to understand the conception of history (and other notions related to it, such as historical documentation, authenticity and time).
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Silva, Regina ClÃudia Oliveira da. "THE EDUCATIONAL ACTION AND CULTURAL LEGACY OF GUSTAVO BARROSO FOR MODERN BRAZILIAN MUSEOLOGY." Universidade Federal do CearÃ, 2014. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=12703.
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nÃo hÃAs discussÃes nessa narrativa tratam-se da aÃÃo educacional e do legado cultural de Gustavo Barroso para a Moderna Museologia Brasileira. Vincula-se ao grande tema da histÃria e memÃria da educaÃÃo brasileira, especialmente à histÃria e memÃria das instituiÃÃes escolares e culturais. A pesquisa busca a compreensÃo e interpretaÃÃo da aÃÃo social do sujeito Gustavo Barroso, nas distintas matÃrias da Museologia no Brasil, por meio de sua aÃÃo educacional, a partir, nomeadamente, da trÃade Museu HistÃrico Nacional (1922), Curso de Museus (1932) e Inspetoria de Monumentos Nacionais (1934), bem como de seu debate sobre folclore sertanejo, principalmente cearense, vinculado à sua proposta de museu ergolÃgico (1944). Utilizamos o conceito de modernidade sustentado nas apreciaÃÃes de Max Weber a respeito do tema. Na pesquisa recorreram-se a documentos institucionais, à revisÃo bibliogrÃfica de outros trabalhos sobre o assunto e à entrevista de ex-alunos do Curso de Museus, em que se buscava saber sobre suas memÃrias (Ricoeur) no tocante ao Curso de Museus e à sua experiÃncia de convivÃncia e/ou trabalho no MHN. O objetivo fundamental à apresentar uma interpretaÃÃo falseÃvel (Popper) de que Gustavo Barroso, a partir da trÃade retrocitada, contribuiu para a preservaÃÃo da memÃria nacional, na medida em que iniciou uma cultura de preocupaÃÃo do poder pÃblico com nossa histÃria educacional e nosso patrimÃnio cultural, ou seja, instalou-se uma nova concepÃÃo de Museologia no Brasil, justificadora de sua prÃpria visÃo de histÃria e conservadorismo. A fundaÃÃo do MHN foi em 1922, ano emblemÃtico para a HistÃria do Brasil, marcado por diversos acontecimentos polÃticos e culturais, ano que tambÃm correspondia ao centenÃrio da IndependÃncia do Brasil, em que se vivia grande crise de popularidade e aceitaÃÃo do governo de EpitÃcio Pessoa. O MHN resultou em um libelo nacionalista e ufanista, necessÃrio para clamar ao povo o amor pela naÃÃo e a salvaguarda das relÃquias das elites imperiais na jovem repÃblica, jà na condiÃÃo de repÃblica velha. Concluiu-se que o projeto museolÃgico de Gustavo Barroso teve imensurÃvel contribuiÃÃo para a formaÃÃo de uma museologia moderna no Brasil, porque inaugurou um museu exclusivamente histÃrico, o primeiro curso de museus e ainda a primeira instituiÃÃo de salvaguarda do patrimÃnio do paÃs, de carÃter nacional, ligada à administraÃÃo federal.
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Sebastian, Novell Caren. "La historia de vida como herramienta para la evaluación de los espacios 2.0 de los museos." Doctoral thesis, Universitat de Lleida, 2019. http://hdl.handle.net/10803/668360.
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La investigació realitzada té com a finalitat fer una proposta metodològica d’avaluació dels espais web 2.0 d’interacció en grup i creació col·lectiva social dels museus que hi han participat. Aquestes noves lògiques d’interacció, conversa i creació de comunitats online ens inciten a constituir aquests nous contextos dels museus en espais discursius i de pràctiques institucionals que requereixen d’una manera d’investigar que possibiliti coneixen el seu procés de creació i de gestió. El mètode biogràfic-narratiu amb la història de vida com a eina metodològica ens permet respondre-hi mitjançant l’anàlisi de les experiències i els discursos dels membres dels museus participants. És així com les entrevistes inicials es converteixen en relats de devolució que culminen en un relat polifònic final. En conseqüència, el procés de recerca mostra no només un “nou mode” d’investigar i avaluar; sinó que possibilita que s’investigui “per”, “en” i “amb” el museu, proporcionant als participats de la investigació espais de reflexió per repensar, aprendre i transformar la seva pràctica professional.La investigación realizada tiene la finalidad de ofrecer una propuesta metodológica para evaluar los sitios web 2.0 de interactuación grupal y creación colectiva social de los museos participantes en la misma. Estas nuevas lógicas de interacción, conversación y constitución de comunidades online nos inducen a formular estos nuevos contextos museísticos como espacios de discursividad y de prácticas institucionales que requieren de un modo de investigar que posibilite conocer su proceso de creación y de gestión. El método biográfico-narrativo con la historia de vida como instrumento metodológico nos permite responder a ello mediante el análisis de las experiencias y los discursos de los miembros de los museos participantes. De este modo, las entrevistas iniciales se convierten en relatos de devolución que culminan en un relato polifónico final. El proceso de investigación muestra pues, ya no solo un “nuevo modo” de investigar y evaluar; sino, que posibilita que se investigue “para”, “en” y “con” el museo, proporcionando a los participantes de la investigación espacios de reflexión para repensar, aprender y transformar su práctica profesional.
The current investigation is aimed at offering a methodological proposal to evaluate the 2.0 websites for group-interaction and social collective creation of the museums participating. These new logics of interaction, conversation and online communities constitution encorauge us to create these new museum contexts as discursive spaces and institutional practices that require a way of investigation that allows to know their process of creation and management. The biographical and narrative research with the life history as a methodological tool allows us to respond through the analysis of the experiences and speeches of the members of the participating museums. This is how the initial interviews become storytelling that culminate in a final polyphonic story. Consequently, the research process shows not only a "new way" of research and evaluating; but, that makes it possible to investigate “for”, “in” and “with” the museum, providing research participants a reflexive space to rethink and learn around their professional practice.
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Valente, Maria Esther Alvarez. "Museus de ciencias e tecnologia no Brasil : uma historia da museologia entre as decadas de 1950-1970." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/287022.
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Orientador: Maria Margaret LopesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociencias
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Resumo: Há uma evidência inquestionável e concreta da criação de museus de ciências e tecnologia a partir dos anos de 1980, no Brasil, e parece pouco consistente explicar a proliferação das iniciativas museológicas como um mero processo de imitação e/ou da criação voluntarista. A intenção de ir além das factualidades levou à busca de outras explicações. O objetivo central da pesquisa foi procurar compreender os momentos do processo que 'pavimentaram' o ambiente do surgimento dos projetos de museus de ciências e tecnologia efetivados a partir dos anos de 1980, no Brasil. Ou seja, entender o que explica esse surgimento que pôde ser percebido no recorte do período estudado, delimitado entre as décadas de 1950 - 1970. Nessa busca, partiu-se da hipótese de que o surgimento desses museus se daria em função de um ambiente propício para que esse fenômeno ocorresse. A análise de documentos, oriundos da área da museologia e da ciência e tecnologia, fundamentou e forneceu subsídios à construção de momentos, de ambientes e de trajetória dos museus de temática científica e tecnológica brasileiros. O presente estudo tem por finalidade contribuir para a história da museologia brasileira, com foco nos museus de ciências e tecnologia.
Abstract: Evidence of the establishment of museums of science and technology from the 1980s in Brazil is unquestionable and concrete, and it seems little consistent to explain the proliferation of museological initiatives as a mere imitation and/or voluntary creation process. The intention to go beyond the factually led to the search for other explanations. The core aim of the research was to attempt to understand the moments of the process which 'paved the way' for the appearance of the projects of museums of sciences and technology carried out from the 1980s on, in Brazil. In other words, to understand what explains this appearance that could be noticed in the period studied, limited between the decades of 1950 and 1970. In this search, the start point was the assumption that the appearance of these museums was due to a proper environment for this phenomenon to occur. The analysis of documents from the museology as well as the science and technology areas substantiated and provided support for the construction of moments, environments and trajectories of Brazilian museums of science and technology category. This study aims at contributing to the history of Brazilian museology, emphasizing museums of science and technology.
Doutorado
Doutor em Ciências
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Kong, Yuen-fan Bonnie. "Museum Street, street Museum-[Museum] of Sheung Wan Heritage Trail." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25954568.
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Kriekouki-Nakou, Irene. "Pupils' historical thinking within a museum environment." Thesis, University College London (University of London), 1996. http://discovery.ucl.ac.uk/10006594/.
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Östling, Matti. "Allt kan ges en historia : Meningsskapande i mötet mellan skola och museum." Thesis, Mittuniversitetet, Institutionen för humaniora och samhällsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-42102.
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I den här uppsatsen har jag undersökt mötet mellan museum och skola genom att studera ett lärandematerial, ”Allt har en historia” utgivet av världskulturmuseerna. Materialet består totalt av tolv filmer som utifrån museiföremål skapat berättelser som tidsmässigt spänner över drygt 4500 år och geografiskt hela världen. Jag har valt att studera tre av dessa filmer och tillhörande material i form av elevfrågor och lärarhandledning. Filmerna har kolonisationen som tema och den representeras av: ett minneshuvud i brons från Beninriket i Afrika, en så kallad khipu från Inkariket i Sydamerika och två jackor från den nordamerikanska prärien. I uppsatsen har jag undersökt (1) vilka berättelser som förmedlas och hur de fungerar meningsskapande; (2) hur läromedlet tar sig an ett interkulturellt perspektiv; slutligen (3) hur formen och formatet fungerar i relation till mer traditionella läromedel. Jag har använt en semiotisk/socialsemiotisk tolkningsmodell där jag i filmerna sökt finna meningsskapande tecken som synliggör vilka berättelser som förmedlas. Som teoretiskt ramverk har historiedidaktiken bidragit med begreppen historiebruk, historiekultur och historiemedvetande. Jag har funnit att den dominerande berättelsen handlar om att lyfta fram”kulturmötet”, i vissa fall som något positivt och i andra genom de negativa konsekvenser det fört med sig. I det sistnämnda fallet har berättelserna tagit ett perspektiv som tydligt ställer sig på de utsattas sida. Museernas fokus på kulturmöte går att härleda till en större rörelse bland etnografiska museer över hela Europa, något som även är synligt i världskulturmuseernas styrdokument. Ett interkulturellt perspektiv tar sig uttryck genom grepp i filmberättandet, som exempelvis att i flera fall använda sig av begrepp på ursprungsbefolkningars språk, men även genom hur filmberättandet kombineras med elevfrågor där man styrt eleverna mot en förståelse som tar ställning för ett mångkulturellt samhälle. Strategin tydliggörs även i hur man i en berättelse projicerar berättelsen om kulturmötet på ett föremål som i sig inte stödjer något i den bortsett från att det härrör från rätt tid och plats. Slutligen har jag funnit att materialet som läromedel betraktat bör ses som ett komplement eftersom det fungerar ganska smalt i relation till skolans kunskapskrav. Det här kan ha sin orsak i olika syn på pedagogik inom skolan respektive museet och i vilka olika krav som ställs på de båda. Med vetskap kring det och med rätt lärarstöd så kan materialet ändå bidra till viktiga delar av elevers lärande. En kvalificerad gissning är att det framförallt kan bidra till att skapa förståelse kring (i det här fallet) koloniseringsepoken.Godkänt datum 2021-05-10
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Conley, Douglas S. "History under glass the historic significance and potential future of the Winterthur greenhouses /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 133 p, 2006. http://proquest.umi.com/pqdweb?did=1203553021&sid=1&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Britto, Luciana Dultra. "Museu da cidade : arte, historia e espetaculo." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284674.
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Orientador: Maria Jose de Azevedo MarcondesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Essa dissertação busca compreender o que são os Museus da Cidade e como eles se inserem no contexto urbano; por ter sido um dos pioneiros entre os museus brasileiros dedicados especificamente à cidade, o Museu da Cidade de Campinas tornou-se o foco desse trabalho. Uma vez que os Museus da Cidade são definidos como centros especializados na história e na cultura urbana, um conjunto de reflexões sobre as relações entre museu, cidade e arte orienta os passos dessa pesquisa; ela se baseia em bibliografia acadêmica, publicações impressas e eletrônicas, pesquisas de campo e levantamentos. A pesquisa parte do colecionismo praticado na Europa entre os séculos XII e XVII, estuda o surgimento do museu público, sua diversificação, a criação de um modelo de museu exportado para as Américas no século XVIII e seu desenvolvimento no Brasil até que no início do século XX fossem criados aqui museus de diversas especialidades. No fim do século XX, muitas cidades e patrimônios foram alçados à categoria de bens culturais; "musealização" e "espetacularização" eram, então, formas de preservar o patrimônio urbano e resgatar a idéia mesma de cidade para a população. O que a cidade podia atribuir ou extrair de seu patrimônio, bem como os cuidados que dispensava a ele e ao seu ambiente tornaram-se índices de qualidade de vida e fatores de atração para novos investimentos. Essa dissertação analisa, em seguida, as concepções museológicas e as experiências de criação dos Ecomuseus ou Museus de Território franceses, do Museu Regional brasileiro, do Departamento de Cultura e do Museu da Cidade de São Paulo como elementos de formação dos Museus da Cidade no século XX. No final do século XX, a implantação de novos museus e sua "espetacularização" passou a ser entendida como forma de produzir locais de sucesso e de projetar a imagem da cidade frente às demais; mais do que conhecimentos, esperava-se dos museus lazer e diversão. Finalmente, essa dissertação enfoca o Museu da Cidade de Campinas inaugurado em 1992; naquela ocasião, esse museu parecia atender em nome, proposta e edificação às recomendações científicas, às tendências econômicas e aos valores culturais dominantes entre os países globalizados. Sua análise revela a deformação do projeto original e o desvio das funções do museu, mas evidencia, também, suas potencialidades. O propósito dessa dissertação é demonstrar que, uma vez especializado na história e na cultura urbana, o Museu da Cidade de Campinas pode ser o mediador ideal do meio artístico local e o promotor de um pólo cultural relativamente autônomo da capital
Abstract: This dissertation aims the understanding of the so called Museums of the City and how they contribute into the urban context; once it was one of the pioneers among the brazilian museums dedicated specifically to the city, the Museum of the City of Campinas became the focus of this work. Once the Museum of the City are defined as specialized centers on urban history and culture, a conjunct of reflections on the relationship between Museum, City and Art guide the steps of this research; based on specialized bibliography, eletronic and press publications and field researches. The search begins at the collectionism practiced in Europe from the XII th to XVII th centuries, studies the emergence of the public museums, their diversification and creation a model of museum exported to Americas at the XVIII th century as well its development in Brazil up to the XX th century when a variety of museums come up. At the end of that century, cities as well urban patrimonies were upgraded to the category of cultural goods; "musealization" and "spetacularization" were the ways of preserving urban patrimonies and promoting to the population the concept of city in it self. All the cities could attribute to or extract from their patrimonies as well the care dispensed to them and to the environment became indexes of life quality and factors of attraction of investments. In sequence, this dissertation analyzes the museological concepts and experiences of creations of the french Ecomuseums or Museums of Territory, the brazilian Regional Museum, the Department of Culture and Museum of City of São Paulo seen as elements of formation the Museums of the City at the XX th century. At the end of the XX th century the implantation of new museums and it's"spetacularization" came to be understood as ways of producing locals of success and projecting the image of the city; more than knowledge, amusement and leisure were expected from the museums. Finally, this dissertation focuses the Museum of City of Campinas inaugurated in 1992; at that time, the museum seemed to correspond in name, proposal and edification the scientific recommendations, economic trends and cultural values then prevailing among the globalized nations. Nevertheless analysis indicated a distortion of the project and deflection of its functions but it also makes evident all its potentialities. The purpose of this dissertation is to demonstrate that once specialized in the urban history and culture the Museum of City of Campinas may become the ideal mediator of the local artistic universe and the promoter of a cultural pole relatively autonomous from São Paulo
Mestrado
Mestre em Artes
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Silva, Jocenaide Maria Rossetto. "Do museu como espaço ao museu como lugar de múltiplas interlocuções: os museus universitários e as coleções do povo Bororo." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/12814.
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The pages of history I propose to build are located in the dimensions of Social and Cultural History, in their fields related to museums, as the theories of history become integrated to interdisciplinary dialogues with other theories (museology and communication). For that, both the research approaches and the methodologies of analysis fit into material culture, imagetic and textual sources, having as field of observation and investigation (in loco and virtual) the museological spaces (technical reserve, exhibition and educational sector), in the Museum of Archaeology and Ethnology - University of São Paulo - USP (São Paulo, SP), in Dom Bosco Museum of Cultures Dom Bosco Catholic University-UCDB (Campo Grande, MS); in the Cultural Center Padre Rodolfo Lunkenbein Aldeia de Meruri , connected to Dom Bosco Museum of Cultures Dom Bosco Catholic University-UCDB (Campo Grande, MS); and in Rondon Museum in the Federal University of Mato Grosso - UFMT (Cuiabá, MT). This thesis discusses the expectations for museum modernization by means of new information technologies, announcing new paradigms that characterize contemporary times. Thus, I argue that such changes unfold themselves and resignify the space-museum. The communicational relations which I refer to were investigated into three dimensions: 1) in the context of the museum and its surroundings (community, city and Indian settlement); 2) in the context of the multiple technologies which set new paradigms to information, and 3) to whom the museums represent in their collections, of which I opt for the sampling of the Bororo Indian s collections of artifacts. The arguments put and results are presented in three parts, Part I being related to the social and cultural history of the surveyed university museums of ethnology, emphasizing the composition of the Bororo s collections of artifacts, their conservation, exhibitions and communicational perspectives. Part II concerns to the museal planned action for Bororo s culture communication, through museological and patrimonial education; in Part III, I consider tangible culture, i.e., the objects kept exhibited in university museums and, from them, I extend researches to intangible cultural references, as a way to contribute to the Bororo s written, social and cultural history. I conclude my thesis by arguing for changing the notion of space-museum by the one of place-museum, by means of communication and integration of new technologies, in particular the World Wide Web
As páginas da história que me proponho construir se localizam nas dimensões da História Social e da História Cultural, em seus domínios relacionados aos museus, à medida que as teorias da história se integram a diálogos interdisciplinares com outras teorias (museologia e comunicação). Para tanto, as abordagens de pesquisa e as metodologias de análise se inscrevem em fontes da cultura material, imagéticas e textuais, tendo como campo de observação e investigação (in loco e virtual) os espaços museológicos (reserva técnica, exposição, setor educativo) no Museu de Arqueologia e Etnologia Universidade de São Paulo - USP (São Paulo, SP); no Museu das Culturas Dom Bosco Universidade Católica Dom Bosco-UCDB (Campo Grande, MS); no Centro Cultural Padre Rodolfo Lunkenbein Aldeia de Meruri, ligado ao Museu das Culturas Dom Bosco Universidade Católica Dom Bosco-UCDB (Campo Grande, MS) e; no Museu Rondon Universidade Federal de Mato Grosso - UFMT (Cuiabá, MT). A tese discute as expectativas de modernização dos museus, por meio das novas tecnologias informacionais, anunciando novos paradigmas, característicos da contemporaneidade. Assim, argumento que estas mudanças desdobram-se e ressignificam o espaço-museu em lugar-museu. As relações comunicacionais a que me reporto foram investigadas em três dimensões: 1) no contexto do museu e seu entorno (comunidade, cidade e aldeia); 2) no contexto das múltiplas tecnologias que estabelecem novos paradigmas à informação; e, 3) a quem os museus representam em suas coleções, das quais opto pela amostragem das coleções de artefatos dos índios bororo. Os argumentos e resultados são apresentados em três partes, sendo a Parte I dedicada à história social e cultural dos museus universitários de etnologia pesquisados, enfatizando a composição das coleções de artefatos bororo, a conservação, as exposições e perspectivas comunicacionais. A Parte II é dedicada à ação museal planejada para a comunicação da cultura Bororo, por meio da educação patrimonial e museológica; na Parte III, detenho-me na cultura material, ou seja, nos objetos mantidos nas exposições dos museus universitários e, a partir destes, amplio as pesquisas para as referências culturais imateriais, como forma de contribuição para a escrita da história social e cultural do povo Bororo. Concluo a tese apresentando argumentos para que a noção de espaço-museu se torne lugar-museu, por meio da comunicação e inserção das novas tecnologias, em especial a rede mundial de computadores
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Nordmark, Petter. "Genus och den utställda vikingen : Genusuttryck i vikingautställningen Welt der Wikinger från 1972." Thesis, Södertörns högskola, Lärarutbildningen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-41540.
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The aim of this study is to examine the temporary museum exhibit World of the Vikings (Welt der Wikinger), created by Sweden’s Statens Historia Museum (SHM), through the lenses of gender and pedagogical analysis. The exhibit which was planned to be showcased in the German city of Kiel in time for the sailing Olympics in 1972 and had several goals in mind. The primary goals were to showcase models of Viking ships and achievements of their ship art (to coincide with the sailing Olympics), provide an overview of the Viking Age and showcasing all its different aspects as opposed to just the infamous warrior. Using a gender theory and the overarching analyst method ‘The Feminist Museum Hack’, primarily utilizing a discourse analysis and a visual method (as well as comparative reading, a quantitative method and content analysis, depending on which objects were analysed), this study examines archival material of the exhibit in order to unveil both gender and pedagogical aspects. The material used, consisting of protocols, memos, exhibition texts, booth overviews (consisting of photographs), catalogues and letter correspondents, provide an extensive look into the exhibit, its purposes as well as the overall structure. The main findings of this study are that the exhibit had a clear pedagogical goal in mind, as its content was divided into different parts and chapters to detail various parts of the Viking Age, including their everyday life. Several artifacts collected from various museums were showcased, and the exhibition texts were designed to both educate its visitors and inspire to seek further knowledge. Nuancing gender roles was not part of its purpose, which is confirmed by a gender analysis of the exhibit. A significant portion of the Nordic people mentioned were men while only a few women were mentioned, but most of the featured men and women were also from a higher hierarchical standing. In terms of expression of gender and gender roles, men were the primary focus in describing and showcasing everyday Nordic life, whereas the women remained passive and secondary. Through the exhibit material, it is clear the roles and chores performed by men were deemed of a higher importance.
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Conte, Francesca. "From discovery to encounter: The new role of ethnographic museums. : The case study of the National Prehistoric and Ethnographic Museum‘L. Pigorini’." Thesis, Högskolan Dalarna, Afrikanska studier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28169.
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Since its creation, the ethnographic museums have aimed to represent the other cultures. The most recent trends in museology have encouraged the ethnographic museums to go beyond the discovery and to create a space of intercultural dialogue. This thesis analyses the impact of multiculturalism and postcolonialism on the temporary exhibitions organised at the National Prehistoric and Ethnographic Museum ‘L. Pigorini’. The study is conducted on the African heritage and in the selected period 1994-2014. The research is carried out pinpointing three main channels through which the two ideological orientations could penetrate in the museum practices. By the evaluation of the exhibitions, this study provides a new methodology for the understanding of the influences of the most recent trends in museology within the museum contexts.
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Dahm, Kerry. ""To Preserve, Protect, and Pass On:" Shirley Plantation as a Historic House Museum, 1894–2013." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3282.
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This thesis provides an analysis of Shirley Plantation’s operation as a historic house museum from 1894 to the present period, and the Carter family’s dedication to keeping the estate within the family. The first chapter examines Shirley Plantation’s beginnings as a historic house museum as operated by two Carter women, Alice Carter Bransford and Marion Carter Oliver, who inherited the property in the late nineteenth century. The second chapter explores Shirley Plantation’s development as a popular historic site during the mid-twentieth century to the early part of the twenty-first century, and compares the site’s development to the interpretative changes that had been occurring at Colonial Williamsburg. The third chapter analyzes and critiques Shirley Plantation’s present interpretative focus as a historic site, with the fourth chapter offering suggestions for developing an exhibition that interprets the history of slavery at the plantation.
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Chalfen, Joel. "Performances of conscience at three historic site museums." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/performances-of-conscience-at-three-historic-site-museums(892a20bb-185d-43e6-b625-1483549c44f4).html.
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The International Coalition of Historic Site Museums of Conscience contributes to current debate about the role that heritage institutions can play as agents for social change. In particular, it proposes historic sites as key venues where dialogue about contemporary human rights issues can take place and help contribute to building stronger democracies, connecting past to present. On the one hand, this raises questions about the activation of competing interpretations of the past to create a critical civic culture. On the other hand, the project of the 'Site of Conscience' asks questions about what there is in the nature of visiting historic site museums that might particularly lend itself to creating an active citizenry. Focusing on the latter of these two concerns, the thesis uses theatre and performance as a conceptual framework for understanding the controls and possibilities of a creative and empowering participation for public visitors at three of the Coalition's member sites: the Lower East Side Tenement Museum, USA; The Workhouse, UK; and The Gulag Museum at Perm-36, Russia. Through reading performance into the visiting event, the thesis is able to respond to questions about how visitors negotiate the museum's project to relate past to present with their own interests in visiting the past, not as a matter of competing narratives but of competing modes of encounter. How people experience their visit is foregrounded as a condition of political engagement.The question then asked is how this negotiation of modes of encounter becomes a performance of the Site of Conscience and the effective achievement of the museum's social agency. The thesis focuses on the uncertainties and gaps that emerge out of the intervening presence of a museum interpreting an historic site. In these circumstances, how control over the making of the visiting event is distributed becomes critical to its transformative potential. The thesis therefore asks about how visitor experiences of these uncertainties and differences become a negotiation of authority to represent the past and hence, how the past emerges in the present.
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Niklewski, Madeleine. "Kan man erfara historia? : Elevers syn på museet som lärandemiljö - om historieundervisning och historiemedvetande." Thesis, Linnaeus University, School of Cultural Sciences, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-6569.
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This essay is a case study based on two sources of empirical data, qualitative interviews and responses from a questionnaire, which examines upper secondary school students’ attitudes to history teaching in a museum context. The students’ answers are further analyzed in relation to the concept of historical consciousness. Thus, history teaching in the museum, from a student perspective, and the students’ capacity of expressing a historical consciousness in their answers, constitute the core of this essay. The motive for a case study like this, is the emphasis of historical consciousness in the course syllabus as well as the emphasis of cooperation between different educational institutions in the goverment’s goals of cultural politics. My study shows, that a majority of the students appreciate the museum as a learning context, they define it as an entertaining but also as an informative, involving and including milieu. The study further shows, that the students have difficulties expressing a historical consciousness, but also the complexity of the concept itself and the problems to identify and “measure” it. My conclusion is, that in order to stimulate an interest and understanding for the history subject – and perhaps even a historical consciousness – it is important that history as a school subject, is not confined within the four walls of a classroom, but is learnt and experienced through and within the center of our daily lifes.
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Brinkman, Donna. "The Dufour-Baldwin historic house museum." ScholarWorks@UNO, 1995. http://scholarworks.uno.edu/aa_rpts/59.
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Esplanade Ridge is the largest downtown historic district in New Orleans, a place that is known as the home of the "last Creole aristocrats" and described as the French Creole version of St. Charles Avenue during the 1800's (Jensen A-I). This historically significant neighborhood is suffering much like other metropolitan areas in New Orleans. Amidst the urban neighborhoods ofNew Orleans often exists rampant property deterioration, crime, litter and population loss. Typical problems in any city, these frightening realities often make imagining the future of Esplanade Ridge a depressing experience. However, alongside the problems endures a rich cultural history and offering. New Orleans architectural treasures are among the finest in the nation; Esplanade Ridge boasts Greek Revival, Classic, Italianate, and High Victorian architectural styles built by such noted architects as Henry Howard, James Freret and James Gallier(Jensen A-I). Rich with history, Esplanade Ridge and all New Orleans neighborhoods must fight to maintain and improve their current condition, in order to ensure a positive cultural future for all New Orleans residents.
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Silveira, Andréa Reis da. "O MUSEU JULIO DE CASTILHOS NO PERÍODO 1960-1980: ACERVOS, DISCURSOS, REPRESENTAÇÕES E PRÁTICAS ATRAVÉS DE UMA EXPOSIÇÃO MUSEOLÓGICA." Universidade Federal de Santa Maria, 2011. http://repositorio.ufsm.br/handle/1/10986.
Full textAbstract:
The current paper aims to focus a museum exhibition developed from the investigation
about the history of Júlio de Castilhos Museum from 1960 to 1980. The museum speeches
and the performances that determined the museum imagination about its history and also about
its symbols were assessed in the research. The history of Júlio de Castilhos Museum from
1960 until 1980, which used to be unknown until these days, has become object of evaluation
by the museum historical field and by the subjects who manage the institution. These members
have been politically linked to the museum and influenced by a historical and political context.
It has made this museum a historical one. By analyzing and exhibiting the museum collections
at that time, it was perceived a permanent game between the memory will and the intention of
reflecting its history. What happened at Júlio de Castilhos Museum from 1960 until 1980 can
be seen under the view of the imprecision of a museum, estate and cultural policy from
ideological federal and state instances. This is apparent when there is a discussion about the
frequent line changes of the activities developed by the museum as its managers changed. It
was also noticed when there were losses or imminent losses of entire collections of weapons or
other items due to negligence or default. This institution has been closed many times because
of infra-structure problems like lack of financial resources and investments occluded by media
and populist events. This is the history shown in the exhibition.O presente estudo tem como foco central uma exposição museológica desenvolvida a partir da investigação sobre a historicidade do Museu Julio de Castilhos no tempo histórico social de 1960-1980. Conferi na pesquisa os discursos museológicos produzidos, as práticas, as representações constituídas naquele período e que determinaram uma imaginação museal (CHAGAS, 2009) a respeito da Instituição, sobre a história construída nela, e sobre seus semióforos. A historicidade do Museu Julio de Castilhos naqueles anos de 1960-1980, até então desconhecida, procurou averiguar, revelar e tornar acessível ao campo museológico e historiográfico que, os sujeitos sociais que administraram a Instituição, estiveram politicamente enraizados, engajados e influenciados de um contexto histórico e político, e isso influenciou o balizamento do Museu Julio de Castilhos como museu histórico. Analisadas as coleções musealizadas e expostas na época, percebi que há um permanente jogo entre a vontade de memória e a intenção de refletir sobre a História. O que aconteceu no Museu Julio de Castilhos nos anos 1960-1980, pode ser visto pela perspectiva da imprecisão de uma política cultural, patrimonial e museológica das instancias federal e estadual e que ao mesmo tempo estiveram ideologizadas. Isso fica claro quando se pondera a respeito das frequentes alterações de linha nas atividades desenvolvidas pelo Museu, logo que mudavam as diretorias. Também pode ser vista pela ameaça, e a efetiva perda das coleções de armas. Descuido, negligencia, fechamentos constantes da Instituição, decorrentes de problemas na infraestrutura, carência de investimentos e recursos, são problemas escondidos com a realização de eventos midiáticos e populistas, na Instituição. Essa constituiu a história comunicada pela exposição.