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1
Rocha, Cláudia Regina Alves da. "Da Pinacoteca ao Museu: historicizando processos museológicos." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-13022015-104640/.
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O Museu Nacional de Belas Artes e sua documentação museológica constituem o principal objeto de estudo desta pesquisa, que procura investigar em suas origens, junto à Academia Imperial de Belas Artes/Escola Nacional de Belas Artes, as ações de tratamento documental que essas instituições utilizaram. Partindo da premissa de que a criação do Museu Nacional de Belas Artes deuse no século XIX, a pesquisa tem por objetivo mapear as proximidades e distanciamentos, sob o enfoque documental, entre tais instituições.The National Museum of Fine Arts and its museological documentation are the aim of this research, which investigates its originis by the identification of the documentation processes developped at the Imperial Academy of Fine Arts, renamed National School of Fine Arts. Considering that the creation of the National Museum of Fine Arts emerged from the debates on the foundation of an Art Gallery inside the Imperial Academy of Fine Arts in the 19th century, this research explores the similarities and differences between these institutions from the point-of-view of the documentation of their collections.
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Lupfer, Gilbert. "Kunstmuseen im Westen und Osten Deutschlands – Anmerkungen zu parallelen und divergierenden Entwicklungen." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1226424686911-06457.
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Das Beispiel der Dresdner Staatlichen Kunstsammlungen zeigt, welche tiefgreifenden Veränderungen sich in den Museen Deutschlands seit Mitte der 1930er Jahre vollzogen, wie die Bestände skrupellos durch Stücke fragwürdiger Provenienz ergänzt wurden und welche Verluste andererseits zu beklagen waren. Dabei werden neben manchen Gemeinsamkeiten gravierende Unterschiede in der Entwicklung der Museen im Osten und Westen erkennbar. Zu den Zugängen gehörte seit 1933 enteignetes oder geraubtes jüdisches Eigentum. Dazu kam im Osten seit 1945 adliger Kunstbesitz aus der Bodenreform. Auf der anderen Seite haben die Ost-Museen nach 1945 durch die Beutekunst- Beschaffung der Roten Armee ihre Bestände zunächst verloren. Die überraschende Rückkehr Hunderttausender von Objekten aus der UdSSR (1955 bis 1958) war ein großer Schritt, hat aber das Problem der Beutekunst noch nicht vollständig gelöst. So sind die heutigen Museen im Westen und Osten als Institutionen wie in ihren Beständen komplexe Resultate und Spiegel der Verwerfungen der jüngeren deutschen Geschichte mit all ihren UngleichheitenThe example of the Dresden State Art Collections demonstrates the profound changes which have affected German public museums since the mid-1930s. On the one hand, the museums acquired works of doubtful provenance, especially Jewish property, during the Nazi years. After 1945, albeit on a quite different scale, the property of expropriated aristocrats in Eastern Germany also found its way into the depots of the museums. On the other hand, museums in Eastern Germany lost the greatest part of their works of art when they were removed by the Red Army at the end of war. The sudden and surprising return of most works of art between 1955 and 1958 still did not finally solve the problem of this so-called “looted art”. Today's museums in Eastern and Western Germany reflect the enormous upheavals of German history
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Xavier, Janaina Silva. "Plano museológico: uma discussão para o Museu de Arqueologia Bíblica Paulo Bork do Centro Universitário Adventista de São Paulo." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-07072015-152340/.
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Esta dissertação apresenta os resultados de um trabalho de pesquisa desenvolvido no Programa de Pós Graduação Interunidades em Museologia, da Universidade de São Paulo. O estudo discute o Plano Museológico como instrumento de gestão adotado pelo Governo Federal brasileiro em 2006, apresenta as origens desse modelo de planejamento, suas propostas e estrutura e levanta dados sobre sua disseminação e aplicação nos museus brasileiros. Analisa, também, exemplos de Planos Museológicos, identificando aspectos positivos e negativos, procurando compreender sua utilidade na gestão dos museus e, por fim, propõe parâmetros para a elaboração de um Plano Museológico para o Museu de Arqueologia Bíblica Paulo Bork, do Centro Universitário Adventista de São Paulo (UNASP EC), adequado as suas especificidades universitárias e capaz de nortear de forma objetiva as ações dessa instituição em face da sociedade.This dissertation presents the results of a research work in the Graduate Program in Interunits Museology, of the University of São Paulo. The study discusses the Museological Plan as a management instrument adopted by the Brazilian Federal Government in 2006, presents the origins of this planning model, its proposals and structure and raises data on its dissemination and use in Brazilian museums. It also analyzes examples of Museological Plans, identifying positive and negative aspects, trying to understand its usefulness in the management of museums and finally proposes parameters for the development of a Museological Plan for the Museum of Biblical Archaeology Paul Bork, the University Center São Paulo (UNASP EC) matches your specific university and able to guide objectively the actions of the institution in the face of society.
4
Kim, Seong Eun. "Artists' intervention in 'universal' museums as traced through the Victoria and Albert Museum, the British Museum and the Pitt Rivers Museum." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508580.
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Yahya, Ibramsha. "Museum learning, the museum visitor, the museum visit." Thesis, University of Leicester, 1997. http://hdl.handle.net/2381/31159.
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The first chapter attempts to set the world scene and fit this research within a framework of museum education, science museums and the Indian science museum situation. A way forward for Indian science museums is sought by identifying the challenges currently faced by them. The thesis, it is hoped, will contribute toward meeting some of those challenges. After defining and classifying the exhibition and describing the changing nature of museums, particularly science museum exhibitions, Chapter II looks at the exhibition development process from the historical perspective. Four approaches are identified in the developmental process of museum exhibition. They are the 'open storage' approach, the Bauhaus's contribution of design elements to exhibitions, Neurath's contribution of the ISOTYPE method of presenting information, and finally the contemporary approach. Having traced the traditional and project-team approaches to exhibition development in museums across the world in terms of their advantages and disadvantages, I will compare and contrast them with the exhibition development approaches in Indian science museums. After having identified the missing inputs of visitors and educators to the exhibition development in Indian science museums, the thesis sets out to shed light on the nature of museum learning, the museum visitor and the museum visit. In Chapter III, learning theories from behaviouristic, cognitive, and humanistic traditions are presented and discussed in relation to museum learning. Some comprehensive models of learning that integrate principles from these three schools are also discussed in terms of their usefulness to describe museum learning. Finally, a 'spiral' approach to museum learning is synthesised to explicate what is going on inside the museum. Chapter IV weaves together Jung's psychological types, Gardner's multiple intelligences, and one-, two- and multi-dimensional learning styles into a framework to explain the fabric of the museum visitor. A survey and an observation of museum visitors to an Indian science centre were conducted to explore the nature of the museum visitor and the museum visit. An interview was conducted with Indian museum directors to shed light on four learning-related issues. The four issues are learning in museums, evaluation and visitor studies, criteria in exhibition development, and finally interest in science and the nature of the scientific temper. The analyses and results of the survey, the observation and the interview are presented in Chapter V, VI and VII respectively.
6
Higgins, Elizabeth M. Hafertepe Kenneth C. "Museums of social conscience interpreting a troubled past /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5329.
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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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Filho, Durval de Lara. "Modos do museu: entre a arte e seus públicos." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-23082013-111500/.
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O museu de arte moderna e contemporânea é uma instituição que possui relações complexas com a arte, com o mercado da arte e, com os públicos. Suas origens remontam ao museu tradicional e, em linhas gerais, mantém suas atribuições básicas e pouco muda ao longo do tempo, mas passa a agregar novas e diferentes funções. Parte-se da hipótese de que, em face às novas manifestações culturais, às práticas das artes, aos hábitos culturais e às novas formas de organização - que se situam num outro registro, em coletivos, trabalhos colaborativos ou agrupamentos assemelhados - o museu necessita rever sua atuação se desejar participar ativamente do processo cultural contemporâneo. Para examinar o problema, partimos da análise do museu desde suas origens, verificando que ele surge na confluência de práticas tradicionais das coleções e gabinetes de curiosidades, e das ideias do Renascimento, que se adensam com o iluminismo buscando autonomia e o exercício da função pedagógica. Em seguida, analisamos o impacto que sofreu com as Exposições Universais e com o modernismo nas artes. Nesse longo percurso, buscamos identificar os diferentes tipos de ações de mediação que o museu realizou com os públicos, desde os catálogos e a expografia, até os seminários, debates e ações educativas. As novas funções que adquire no início do século XX e o processo de revitalização no final desse mesmo século transformam o museu numa das grandes atrações turísticas de nossos tempos. Na contemporaneidade, paralelamente ao museu, e fora dele, surgem propostas em rede de pedagogias coletivas que ampliam e atualizam este campo por meio da construção coletiva de experiências artísticas, de mediação, debates, plataformas de discussão e de documentação, que retiram tais atividades de um certo \'anonimato\' e dispersão, para se tornarem públicas. Sem abandonar tudo o que tem feito e sem, necessariamente, abraçar exclusivamente as práticas mais radicais, o museu pode participar das novas redes que estão se formando e estabelecer relações ricas e produtivas, funcionando simultaneamente como um ponto de emissão e de recepção na qual interagem artistas, instituições e públicos, onde todos são ativos. Dissolve-se, assim, o papel pedagógico nos moldes iluministas que possui o museu.The museum of modern and contemporary art is an institution that has complex relationships with the art market, the public and the art itself. Its origins date back to the traditional museum and while keeping its basic characteristics with very little change over time it added some new and different functions. The hypothesis is: taking into consideration the contemporary form of cultural manifestations, art practices, cultural habits and organizations such as collectives and collective work, the museum needs to rethink itself if it wants to participate actively in the contemporary cultural process. To examine this problem we analyze the museum history, observing it has originated from the confluence of collections and curiosity cabinets traditional practices and the Renaissance ideas, further emphasized by the Enlightenment concepts, seeking autonomy and the exercise of a pedagogical function. Then we analyze the impact exerted on it by Universal Exhibitions and Modernism in arts. Through this long journey, we try to identify the different types of mediation actions the museum has developed with its audience, from catalogs and expography to seminars, debates and educational actions. The new functions it has acquired in the beginning of the twentieth century and the revitalization process experienced in the late twentieth century transformed the museum into one of the main tourist attractions of our times. In contemporary times, new interrelated, networked pedagogical propositions arise which amplify and update this field through the collective construction of artistic experiences, mediation, debates, discussion platforms and documentation that bring publicity and cohesion to these otherwise unrelated and \'anonymous\' activities. Without necessarily abandoning its legacy and embracing exclusively the more radical alternatives, the museum can participate in the new networks that are forming and establish richer, more productive relationships, acting simultaneously as an emission and reception point where artists, institution and public actively participate, therefore dissolving the Enlightenement-based pedagogical role the museum still holds.
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McFelter, Gypsy. "Is the price right? : Admission fees and free admission in American art museums /." [Pleasant Hill, Calif. : John F. Kennedy University Library], 2006. http://library2.jfku.edu/Museum_Studies/Is_the_Price_Right.pdf.
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Soler, Busquets Jordi. "La imatge dels museus a través de l'arquitectura. Anàlisi de l'arquitectura exterior dels museus registrats de la província de Girona." Doctoral thesis, Universitat de Girona, 2019. http://hdl.handle.net/10803/668798.
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In the 19th century, the museum archetype was based on an architecture of classical lines and a palace image. The current trend of new museums buildings is characterized by its typological vagueness and the lack of an archetype. Despite this loss of identity, the current museum does not give up being identified as such, and chooses to use movable architecture in order to transmit all those values and information it considers appropriate.Durant el segle XIX l’arquetip del museu es fonamentava sobre una arquitectura de línies clàssiques i d’imatge palauenca. La tendència actual dels edificis de nova construcció destinats a museus cap a una arquitectura contemporània caracteritzada per la seva indefinició tipològica comporta la manca d’un arquetip. Davant d’aquesta pèrdua d’identitat el museu actual no renuncia a ser identificat com a tal, i opta per utilitzar l’arquitectura moble amb la finalitat de transmetre tots aquells valors i informacions que considera oportuns.
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Dyehouse, Jeremiah. "Science Fiction : Rhetoric, Authenticity, Textuality and the Museum of Jurassic Technology." Oberlin College Honors Theses / OhioLINK, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1509374752516486.
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江婉芬 and Yuen-fan Bonnie Kong. "Museum Street, street Museum-[Museum] of Sheung Wan Heritage Trail." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986511.
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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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Gonzalez, Desi (Desiree Marie). "Museum making : creating with new technologies in art museums." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/97995.
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Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies, 2015.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 151-155).
Hackathons, maker spaces, R&D labs: these terms are common to the world of technology, but have only recently seeped into museums. The last few years have witnessed a wave of art museum initiatives that invite audiences-from casual visitors to professional artists and technologists-to take the reins of creative production using emerging technologies. The goals of this thesis are threefold. First, I situate this trend, which I call "museum making," within two historical narratives: the legacy of museums as sites for art making and the birth of hacker and maker cultures. These two lineages-histories of art-based and technology-based creative production-are part of a larger participatory ethos prevalent today. A second goal of this thesis is to document museum making initiatives as they emerge, with an eye to how staff members at museums are able to develop such programs despite limited financial, technological, or institutional support or knowledge. Finally, I critically examine how museum making may or may not challenge traditional structures of power in museums. Museum making embodies a tension between the desire to make the museum a more open and equitable space-both by inviting creators into the museum, and by welcoming newer forms of creative production that might not align with today's art world-and the need to maintain institutions' authority as arbiters of culture. My analysis draws on a wide range of fields, including sociology, educational theory, media studies, museum studies, and art theory. This thesis is informed by extensive fieldwork conducted at three sites: the Los Angeles County Museum of Art's Art + Technology Lab, a program that awards artist grants and mentorship from individuals and technology companies such as Google and SpaceX; the Metropolitan Museum of Art's Media Lab, an innovation lab that invites members of New York's creative technology community to develop prototypes for and based on the museum experience; and the Peabody Essex Museum's Maker Lounge, an in-gallery space in which visitors are invited to tinker with high and low technologies.
by Desi Gonzalez.
S.M.
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Lança, Maria João. "O Museu da Luz e a reconstrução do lugar: objeto(s) de um percurso." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/15534.
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A presente dissertação aborda as principais linhas de compreensão de uma entidade
museal, o Museu da Luz, realizando uma síntese dos seus dez anos de atividade. Na
evidência deste percurso constatam-se as singularidades do museu, no quadro de uma
aldeia recreada e de uma comunidade deslocada – devido à submersão pela barragem
de Alqueva (Alentejo, Portugal). Salientam-se os processos museológicos
desencadeados e os significados dos objetos enquanto representação tangível do
passado, reclamado na produção de memória e na reconstrução do Lugar. Revelam-se
as práticas museológicas preconizadas e propõem-se os parâmetros para uma possível
reformulação da missão da unidade museológica. A proposta baseia-se no princípio
que o Museu da Luz é um museu de sociedade, cuja ação não se centra exclusivamente
nas suas coleções e que, por conseguinte, a sua missão esgota-se e deve ser renovada; ABSTRACT:This dissertation defines the main lines to understand a museum – the Museum of Luz
– performing a overview of his ten years of activity. In this route, we reveal the
singularities of the museum, in the context of a recreated village and a displaced
community - due submersion by Alqueva dam (Alentejo, Portugal). We highlight the
museum processes and the meanings of objects, as tangible representation of the
past, claimed in the production of memory and the reconstruction of the place.
Revealing the museological practices, we propose a possible reformulation of mission’smuseum. This proposal is based on the principle that the Museum of Luz is a society
museum, whose activity is not focused exclusively on their collections and, therefore, it
mission must be renewed.
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Alhadi, Esameddin. "Transforming School Museum Partnership: The Case of the University of Florida Harn Museum Teacher Institute." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1214496613.
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Coldiron, Marly E. "Cultivating Creativity: The Columbus Museum of Art and the Influence of Education on Museum Operation." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429176568.
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Kim, SeJeong. "Understanding of Museum Branding and Its Consequences on Museum Finance." University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1208785497.
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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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Gray, Pamela Clelland. "Public learning and the art museum : future directions /." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030407.154108/index.html.
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Avelar, Luciana Figueiredo. "Museus comunitários no Brasil: o Ponto de Memória Museu do Taquaril." reponame:Repositório Institucional do FGV, 2015. http://hdl.handle.net/10438/13691.
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The Taquaril Museum, created in 2010, is studied as a contemporary museum institution, as a community museum, as an initiative driven by the government sector through the Pilot Action of the program Pontos de Memória, carried out by the Brazilian Institute of Museums (Ibram). With inquiry conducted through desk research and interviews, supplemented by consulting other sources, are described and analyzed: the emergence context of Taquaril Museum, stages and processes of its creation and its establishment, faced challenges and prospects for continuity. The study is made from literature review about the development, the transformation and the diversification of the museums in the West. These ones considered as tools used in social processes of memories construction and identitys affirmation. Are focused the so-called new museology and the emergence, in recent years, of socially oriented museums, engaged in satisfy society interests in a more democratic way. It is addressed the current national development context of inclusive cultural policies and a specific national public policy for the museum sector. It is observed that the trajectory of the Taquaril Museum, within this scenario, is impacted by agents and circumstances of the internal context of the institution and of the local community. And it is also impacted by the external environment, especially the operation of Ibram and the program Pontos de Memória. It is concluded that there are still obstacles to be faced by Taquaril Museum for its consolidation as a community museum.
O Museu do Taquaril, criado em 2010, é estudado como instituição museológica contemporânea, como museu comunitário, como iniciativa impulsionada pelo setor governamental por meio da Ação-Piloto do programa Pontos de Memória, do Instituto Brasileiro de Museus (Ibram). Com investigação realizada por meio de pesquisa documental e entrevistas, complementada por consulta a outras fontes, são descritos e analisados: o contexto de surgimento do Museu do Taquaril, etapas e processos de sua criação e de seu estabelecimento, desafios enfrentados e perspectivas para sua continuidade. O estudo é feito a partir de revisão de literatura sobre o desenvolvimento, a transformação e a diversificação dos museus no ocidente, observados como ferramentas utilizadas em processos sociais de construção de memórias e afirmação de identidades. São focalizados a chamada nova museologia e o surgimento em anos recentes de museus de cunho social, associados ao atendimento mais democrático de interesses da sociedade. É abordado o contexto nacional atual de implementação de políticas culturais inclusivas e de uma política pública nacional específica para o setor museal. Observa-se que a trajetória do Museu do Taquaril, iniciativa inserida nesse cenário, é impactada por agentes e circunstâncias do contexto interno da instituição e da comunidade local, assim como do contexto externo, especialmente a atuação do Ibram e o programa Pontos de Memória. Conclui-se que ainda há obstáculos a serem enfrentados pelo Museu do Taquaril para sua consolidação como museu comunitário.
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Puig, Renata Guimarães. "A Arquitetura de Museus-Casas em São Paulo: 1980-2010." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-11072012-103841/.
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O termo difundido internacional historic house museums une duas categorias: casas históricas e casas-museus. No Brasil, os termos utilizados são museus-casas ou, ainda, casas-museus. Estes se constituem em espaços abertos ao público, reunindo características de conservação e apresentação das obras exigidas pelo Conselho Internacional de Museus (ICOM) e apresentando relação entre a casa (espaço arquitetônico), o acervo (conteúdo) e o proprietário (habitante). O presente estudo consiste em uma análise de três modelos de museus-casas/casasmuseus, na cidade de São Paulo, sendo eles: Fundação Maria Luísa e Oscar Americano, Fundação Cultural Ema Gordon Klabin e Museu da Casa Brasileira. Essa análise levantará os principais itens relativos à arquitetura dos seus projetos, com ênfase nas plantas, o desenho das casas e sua transformação para museu. Trata-se, portanto, de uma reflexão sobre a tipologia dos museus-casas, baseada nas principais características observadas diretamente nas instituições selecionadas, utilizando, para tanto, textos que abordam aspectos históricos, sociais e técnicos, o Projeto de Classificação dos Museus-casas, elaborado pelo DEMHIST (Comitê Internacional de Museus-Casas Históricas, do Conselho Internacional de Museus, 1998), bem como a revisão dos trabalhos já realizados sobre o assunto por diversos autores, visando a um entendimento global das questões já levantadas a respeito do tema.The spread out term international historic house museums joins two categories: historical houses and house-museums. In Brazil, the used terms are museum-houses or, still, housemuseums. These if constitute in open spaces to the public, congregating characteristic of conservation and presentation of the workmanships demanded for the International Advice of Museums (ICOM) and presenting relation between the house (space architectural), the quantity (content) and the proprietor (inhabitant). The present study it consists of an analysis of three models of museum-houses/house-museums, in the city of São Paulo, being they: Foundation Maria Luisa and Oscar Americano, Cultural Foundation Ema Gordon Klabin and Museum of the Brazilian House. This analysis will raise the main relative item to the architecture of its projects, with emphasis in the plants, the drawing of the houses and its transformation for museum. It is treated, therefore, of a reflection on the kind of the museum-houses, based in the main characteristics observed directly in the institutions selected, using, for in such a way, texts that approach aspects historical, social and technician, the Project of Classification of the Museum-houses, elaborated for the DEMHIST (International Committee of Historical Museum-House, of the International Advice of Museums, 1998), as well as the revision of the works already carried through on the subject for diverse authors, aiming at to a global agreement of the raised questions already regarding the subject.
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Almeida, Adriana Mortara. "Museus e Coleções Universitários: Por que Museus de Arte na Universidade de São Paulo?" Universidade de São Paulo, 2001. http://www.teses.usp.br/teses/disponiveis/27/27143/tde-10092003-160231/.
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Essa tese trata do perfil dos museus universitários - sua origem, desenvolvimento e perfil atual -, com ênfase para os museus de arte. Procura definir o que seria um museu universitário modelo e busca identificar o quanto desse modelo existe na prática. Descreve a formação e as características dos museus da Universidade de São Paulo e dos museus universitários de arte no Brasil. Analisa a coleção e o museu de arte da Universidade de São Paulo - Coleção de Artes Visuais do Instituto de Estudos Brasileiros e Museu de Arte Contemporânea - diante do modelo proposto para museus universitários. E finalmente, discute a necessidade da Universidade de São Paulo possuir ou não essas coleções de arte.This thesis addresses the profile of university museums - their origin, development and current profile with emphasis on art museums. It attempts to define what a model university museum should be and to compare it to the existing situation. It describes the foundation and characteristics of the University of São Paulo museums and of university art museums in Brazil. It analyses the art collection and the University of São Paulo art museum - Visual Arts Collection of the Brazilian Studies Institute and the Contemporary Art Museum - in comparison to the university museum model proposed. And finally it discusses the need for those art collections in the University of São Paulo.
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Mordhorst, Camilla. "Genstandsfortællinger : fra Museum Wormianum til de moderne museer /." Roskilde : [Kbh.] : Roskilde universitetscenter ; Nationalmuseet, 2003. http://diggy.ruc.dk/bitstream/1800/634/3/afh%2Bforside.pdf.
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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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Grant, Laurence (Laurence Edward) Carleton University Dissertation Anthropology. "Museum policy, museum practices and cultural change." Ottawa, 1991.
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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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Beccarelli, Claudio. "Finanzierung von Museen : Theorie und Anwendung am Beispiel der Schweizer Museumslandschaft /." Bern : Haupt, 2005. http://aleph.unisg.ch/hsgscan/hm00180514.pdf.
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Wills, Brian Wesley. "An immersive extension for the Michael C Carlos Museum : making space from within." Diss., Georgia Institute of Technology, 1995. http://hdl.handle.net/1853/23057.
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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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Munro, Ealasaid. "Therapeutic museum? : social inclusion and community engagement in Glasgow museums." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8000.
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In this thesis, I address the role of museums in contemporary Scotland, with specific reference to Glasgow Museums, the city of Glasgow’s municipal museums service. The empirical research focused on both the policy landscape within which Scottish museums are emplaced, and the activities and practices of museum staff. The research involved interviews with museum professionals, and participant observation within the museums service. The research findings emphasise the complexity of the role that museums play in contemporary society. In the thesis, I attempt to articulate the policy concept of social inclusion insofar as is it articulated within Glasgow Museums. I argue that in recent years Glasgow Museums has attempted to re-orientate its service around social inclusion, and yet the diffuse nature of the concept, coupled with the complexity of the institutional and organisational configurations within which it is implemented, means that many different – and extremely diverse – activities come to be considered part of the social inclusion agenda. The complex set of power relations through which social inclusion is articulated often results in conflict between different museum venues, departments and cohorts of staff. Through an examination of the theory underpinning the concept of social inclusion, and the practices privileged as part of Glasgow Museums’ commitment to social inclusion, I argue that it could usefully be understood as a therapeutic technology. I also suggest that community engagement has become an increasingly important part of socially inclusive practice within Glasgow Museums, yet I contend that community engagement represents a new and largely uncharted territory for many museum professionals. Through an exploration of the planning and execution of a community engagement project – entitled Curious – I argue that community engagement could usefully be thought of as a form of care. As a result, I contend that community engagement requires distinctive skills, and that these skills are often explicitly gendered.
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Ross, Max. "Decoding museum gazes : a study of visitors to local museums." Thesis, Keele University, 2003. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409554.
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Weiß, Gisela. "Sinnstiftung in der Provinz : westfälische Museen im Kaiserreich /." Paderborn ; München ; Wien ; Zürich : Schöningh, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014606719&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Almeida, Carolina Barros de. "O Museu de Arte Moderna da Bahia e suas contemporaneidades: de Lina Bo Bardi a Solange Farkas." INSTITUTO DE HUMANIDADES, ARTES E CIÊNCIAS, 2018. http://repositorio.ufba.br/ri/handle/ri/26722.
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A presente dissertação analisa o Museu de Arte Moderna da Bahia (MAM-BA) e sua gestão no contexto das recentes mudanças e avanços ocorridos nas políticas culturais baianas. O recorte temporal está concentrado no período entre 2007 a 2010, quando o Estado passou a ter uma Secretaria de Cultura autônoma, independente do turismo. Nesse período a curadora de arte Solange Farkas esteve à frente do museu e buscou dinamizá-lo com uma intensa programação de atividades, com o objetivo de inseri-lo no sistema nacional e internacional de arte contemporânea. A investigação leva em consideração a concepção original do MAM-BA, conforme idealizada pela arquiteta italiana Lina Bob Bardi, como um importante elemento legitimador da instituição na cena das artes visuais. Nesse sentido, confrontam-se aspectos entre as gestões Farkas (2007-2010) e a gestão Bo Bardi (1959-1964), visando identificar aproximações e diferenças. Para compreender diferentes aspectos da gestão, as influências das políticas culturais implementadas e a referência ao pensamento de Lina, foram realizadas entrevistas com gestores, artistas, curadores e pesquisadores atuantes no cenário cultural baiano.
This dissertation analyses the Museum of Modern Art of Bahia (MAM-BA) in its contemporary context and the relationship that existed between its management and the recent changes and advances in the cultural policies of the state of Bahia. The temporal cut is concentrated in the period between 2007 and 2010, when the State of Bahia reorganized its administration to have an autonomous Secretariat of Culture, independent of Tourism activities. During this period the curator Solange Farkas took over the management of the museum and sought to energize it with an intense activity, with the objective of inserting it into the national and international scenario of the contemporary art. The research considers the original MAM-BA, as originally designed by the Italian architect Lina Bo Bardi as a legitimating element of the institution in the scene of the visual arts. In this sense, aspects are confronted between the Farkas administration (2007-2010) and the Bo Bardi management (1959-1964), to identify approximations and differences. To understand the different management aspects, the influences of cultural policies and the reference of the Lina’s thought, interviews were carried out and a questionnaire was applied with managers, artists, curators and researchers in the Bahia’s cultural scene.
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Howard, Courtney L. "Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.
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Lima, Paulo José Nascimento. "Plano museológico: questões e proposições a partir do estudo de caso do Museu Lasar Segall." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-09022015-111246/.
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O presente trabalho tem o intento de apresentar questões e proposições na construção de planos museológicos a partir das experiências do Museu Lasar Segall (MLS). No primeiro capítulo é apresentado o histórico do MLS, enfocando seu perfil museológico (escolhas conceituais) e suas práticas de gestão, assim como um paralelo de suas experiências com o pensamento museológico contemporâneo, e ainda um breve panorama com trabalhos acadêmicos que já foram realizados tendo o MLS como objeto. No segundo capítulo é descrito e apresentado o resultado do diagnóstico museológico que buscou mapear as funções e atividades do MLS hoje, sua cadeia operatória museológica, bem como sua relação com a sociedade. No terceiro capítulo, a partir dos anteriores, e permeando uma discussão sobre os processos de planejamento em museus, são apresentadas questões e propostas enfocando a construção de planos museológicos.This work aims to present issues and propositions for the museological plan elaboration from the Lasar Segall Museum (MLS)\'s experiences. In the first chapter is presented the MLS\'history, focusing its museological profile (conceptual choices) and their management practices, as well a parallel of their experiences with contemporary museological thinking, and even a brief overview with academic studies that had been conducted having MLS as a study object. The second chapter describes and presents the results of museological diagnosis that intent to map the MLS\' functions and activities nowadays, its museological operative chain as well its relationship with society. In the third chapter, from the previous ones, and permeating a discussion about the planning processes in museums, are presented issues and proposals focusing on museological plan elaboration.
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Rome, Nicole Renee. "University Students in the Museum: A Program Evaluation of the Spencer Museum Student Advisory Board." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338065318.
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Vilidiridis, Denny. "Museum educators' personal theories of teaching : a multi-case study." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:909f637c-5db8-4cb3-b886-9301aa670241.
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This multi-case study creates a better understanding of the relationship between four museum educators' personal theories of teaching and their practice in university museums. The question that frames this study is, "How, in a university museum setting, do museum educators' personal theories of teaching relate to their educational practices?" The aim was to produce an account of museum educators' personal theories and practices in university museums and interrogate what factors may influence the relationship between the two. While there is some literature about the personal theories and practices of museum educators, no studies have been found that examine museum educators working in university museums in the United Kingdom. This study addresses this gap by exploring four museum educators' personal theories and practices in three museum educational programmes in two university museums in a university city. This study is positioned within a qualitative tradition. Data for this study was collected using semi-structured interviews and observations. In total four pre-interviews, 24 observations and 24 post-interviews were conducted with four museum educators in two university museums in a UK city. Thematic analysis was the approach taken for the analysis of each case study. Findings in relation to the museum educators' personal theories suggest that there were important similarities in the museum educators' personal theories. All the museum educators' personal theories consisted of elements relative to knowledge, learning and learners, and the facilitation of a positive learning environment. The museum educators' personal theories of teaching relative to the nature of knowledge, learning and learners, varied per the discipline of the museum they taught in. It was found that personal theories were influenced by the museum educators' shared background as former school teachers and, for some, their accumulated experience teaching in university museum settings. Thus, they tend to foster educational settings with characteristics typical of formal learning environments. The key finding in relation to the research question of this study, is that in a university museum setting, the personal theories of teaching of the museum educators were often aligned with their practices; in some cases, they were not. Whether the museum educators could align their practices with their personal theories of teaching appeared to depend on the sociocultural context they worked in. Despite, as previously noted, similarities in the four personal theories of teaching (i.e. relative to knowledge, learning and learners and the facilitation of a positive learning environment), there were differences in how these were translated into practice by each museum educator. This research contributes to the field of museum education by: i) enhancing our understanding of museum educators' personal theories of teaching and practice in university museums; ii) providing fresh insights into the relationship between the personal theories of teaching and practice of museum educators working in university museums and; iii) adding to our understanding of the breadth of learning environments in museum education. The findings of this study are significant because they enrich the empirical knowledge and understanding of museum educator teaching in university museums. This study provides insights that may benefit the training and professional development of museum educators in university museums.
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Almeida, Adriana Mortara. "A relação do público com o museu do Instituto Butantan: análise da exposição \'Na natureza não existem vilões\'." Universidade de São Paulo, 1995. http://www.teses.usp.br/teses/disponiveis/27/27134/tde-08092004-145801/.
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O trabalho trata da avaliação da exposição Na Natureza não existem Vilões do Museu do Instituto Butantan. Realizou-se uma pesquisa histórica e uma pesquisa de público para se saber a opinião e o nível de aprendizado obtido após a visitação. Como conclusão, sugerem-se modificações na exposição para tornar a comunicação das mensagens propostas mais eficiente.This paper evaluates the exhibit There are no villains in Nature of the Butantan Institute Museum. A historical research and an audience poll were carried out in order to find out the visitors opinion of the exhibit and what they learned during their visit. A proposal of changes in the exhibit, to make its message more effective is presented at the end of the discussion.
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Hughes, Sarah Anne. "Museum publishing : production and reception of museum books." Thesis, University of Leicester, 2011. http://hdl.handle.net/2381/9563.
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This thesis addresses the phenomenon of museum publishing to question why books are produced by museums. The answer to this question is sought through an empirical study that examines museum books from both their production and their reception as well as a detailed study of the relationship of the texts to the museum. The case study methodology supplies interview data from museum staff involved in writing, editing, designing and project-managing the production of books at the National Gallery and the Wellcome Collection, both in London. Interviews with staff involved with publishing in other national and provincial institutions broaden the basis of these case studies. Visitor responses are obtained primarily through questionnaires delivered electronically to volunteers who purchased exhibition books at these institutions. The cross-disciplinary research draws on theories from museum and publishing studies. Data are analysed from the theoretical position of an active audience (Abercrombie and Longhurst 1998) whose uses of books encompass functions of memory and representation. Genette’s (1997) concept of paratext forms the basis from which to characterise the reciprocal relationship between catalogues and their associated exhibitions. Books contribute to the communication resources of museums, but rather than being viewed merely as adjuncts to the exhibits on display, they are presented in this study as integral to the visitor’s experience both during the museum visit and later, as distributed objects in personal ownership and in wider society. The authority and cultural values associated with books when combined with those of the museum make them a particularly forceful resource for meaning-making for both the producers and the consumers.
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Horta, Maria de Lourdes Parreiras. "Museum semiotics : a new approach to museum communication." Thesis, University of Leicester, 1992. http://hdl.handle.net/2381/35304.
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The research explores the theoretical possibility of a semiotic approach to the Museum phenomenon, seen as a process of communication and signification, and the consequences on the determination of the social function of museums, in its semantic and pragmatic levels. It proposes a new discipline for the field - that of 'Museum Semiotics', as a theoretical background and a tool for the understanding of museums as 'semiosic spaces', acting in the cultural process through their 'communicative actions'. PARTS I and II propose the basic assumptions and premises for the study of the specific Museum Language, defining its terms and concepts, and considering museum objects as bearing a 'sign-function', as 'signifying units' used in the construction of messages and 'discourses', manifested or hidden in museum exhibitions. The mechanisms of the process of sign production and of sign interpretation in the Museum context, the concept of 'museality', the Museum 'mythological speech', the interplay of codes and the interaction between emitters and receivers in the museum communication process, are explored here. PARTS III and IV propose and develop a preliminary model of analysis of exhibition 'texts' and of their specific 'rhetorics', applied in a particular case study, the exhibition on 'Buddhism, Art and Faith', held at the British Museum (1985), in order to detect the multiple ways in which the public 'reads' a Museum message, and all the elements working in this process. PART V presents the conclusions and insights on Museum Communication, on exhibition production and evaluation, on Museum Education, and on new fields of research opened up through the approach of Museum Semiotics, proposing a strategy for changing the conditions of communication, through open and aesthetic texts, which may encourage the visitors to recover their freedom of decoding'.
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Rocha, Irla Suellen da Costa. "Museu, cultura e criatividade : o Museu da Gente e as políticas públicas no Brasil." Universidade Federal de Sergipe, 2017. https://ri.ufs.br/handle/riufs/4018.
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The changes in culture public policies between 2003 and 2014, especially regarding to museums national policy, bring up the semantics moves about museum and the historical and cultural heritage about the question of creativity. This research uses the Museu da Gente Sergipana Governador Marcelo Déda (MGS) as empirical object and locus of materialization of the cultural guidelines proposed by the state government in conformity to federal government policies through the national museums policies. So, in order to locate our object amongst this discussion, it was necessary to do a conceptual reconstitution of museum institutions on the basis of the proposals of Oliveira (2008), Choay (2008), Funari e Pelegrini (2008 e 2009) who make an approach through politics, memory and history. Therefrom, what we propose is to locate the museums inside the perspective of the Creative Economy, which, by the way, lead us to the economic dimension proposed by Lula (2003-2010) and Dilma (2011-2014) public policies, approached her by the sight of the Political Economy of Culture and Communication. At last, so we focused on Sergipe's museum policies and analyzed the MGS schedule because it is considered one of the most important museums in the state and in the country due to its expography that uses technological resources in order to narrate the material, immaterial and environmental culture of Sergipe. The results points that, in Sergipe, the MGS cant's stand the idea of being the driving force of a productive chain in local economy because the museums in general deal with inherent paradigms such as gratuity, educational bias and an institutional effort to the cultural formation of the population. So, we might affirm that our object is a space of dissemination of ideas based on the political standpoint of Sergipe identity as part of the formation of local consumers.As mudanças nas políticas públicas de cultura entre 2003 e 2014, especialmente no que tange à política nacional de museus, trazem à baila os movimentos semânticos sobre os museus e o patrimônio histórico e cultural acerca do debate da criatividade. A pesquisa utiliza o Museu da Gente Sergipana Governador Marcelo Déda (MGS) como objeto empírico e locus de materialização das políticas culturais propostas pelo governo estadual, em consonância com as diretrizes estabelecidas pelo governo federal através da política nacional de museus. Para situar o museu dentro da temática das políticas públicas foi necessário fazer uma reconstituição conceitual sobre as instituições museais a partir da proposta de Oliveira (2008), Choay (2008), Funari e Pelegrini (2008 e 2009) que abordam a temática na relação entre política, memória e história. A partir desse ponto, o que propomos é situar os museus no aspecto da economia criativa que remete à ideia da dimensão econômica proposta pelas políticas públicas dos governos Lula (2003-2010) e Dilma (2011-2014) através da abordagem crítica da Economia Política da Comunicação da Cultura. Por último, então fizemos um recorte sobre a política para museus em Sergipe e analisamos a programação do MGS por ser um dos museus mais importantes de Sergipe e do Brasil devido à expografia que utiliza-se de recursos tecnológicos para narrar a cultura material, imaterial e ambiental do estado. Os resultados encontrados apontam que, em Sergipe, o MGS não suporta ainda a ideia de gerar um serviço que possa movimentar a cadeia produtiva da economia local, uma vez que os museus lidam com paradigmas inerentes à sua composição institucional tal como a gratuidade, o caráter educacional e empreendimento para a formação cultural da população. O que nos permite afirmar que o nosso objeto constitui-se como um espaço de disseminação de ideias alicerçadas na visão política sobre a identidade sergipana como constitutivo para a formação de um consumidor local.
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Yassuda, Silvia Nathaly [UNESP]. "Documentação museológica: uma reflexão sobre o tratamento descritivo do objeto no Museu Paulista." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/93662.
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O museu é uma unidade de informação que pode apresentar variados tipos de suportes documentais, como os iconográficos, os tridimensionais e os bibliográficos. A documentação em museus trabalha com o tratamento informacional das coleções, desde o registro até a disseminação da informação, cabendo a ela gerir um sistema que atenda a demanda informacional de seu público. Neste sentido, apontamos a necessidade do uso das linguagens documentárias na construção de sistemas documentais museológicos, proporcionando a maximização na recuperação e uso da informação. Algumas peculiaridades da documentação em museus devem ser observadas de modo a justificar a ausência de padronização no registro das coleções. No âmbito da documentação museológica, a pesquisa enfoca a catalogação de objetos de museus como ação mediadora entre o público e o acervo, contribuindo na construção do conhecimento e preservação da memória. Dessa forma, realizou-se um estudo com o Museu Paulista tendo por objetivo geral subsidiar os procedimentos documentais dos museus com práticas e reflexões vindas da Teoria da Documentação. Quanto aos objetivos específicos pretendeu-se refletir sobre o papel da documentação museológica no contexto informacional do museu e observar a forma como a representação descritiva é utilizada no Museu Paulista.
The museum is a unit of information that can provide various types of documentary support, such as the iconography, the three-dimensional and the bibliographic. The museum documentation works with treatment of collections information, from the registration until the dissemination of information, leaving it to operate a system that attends the information demand of its public. In this regard, we point out the need for the use of languages documented in the construction of systems documentary museum, offering to maximize the recovery and use of information. Some peculiarities of the documentation in museums must be met in order to justify the lack of standardization in the record of collections. Within the museum documentation, the research focuses on the cataloging of objects in museums as action mediator between the public and the body, helping in knowledge construction and preservation of memory. Thus, there was a study of the Museu Paulista aiming to subsidize the general documentary procedures and practices of museums with reflections from the Theory of Documentation. As to the specific objectives intended to reflect on the role of documentation in the museum informacional context and observe how the descriptive representation is used in the Museu Paulista.
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PONTES, Neila Denise Macedo Teles de. "Um "mix de mixórdias": ensaio antropológico sobre o discurso expositivo do Museu do Homem do Nordeste." Universidade Federal de Pernambuco, 2012. https://repositorio.ufpe.br/handle/123456789/19114.
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Os museus são instituições culturais que exibem formas de interpretação das culturas, definem e atribuem valores, de forma mais ou menos consciente, portanto, comunicando significados e podendo constituir-se assim como objeto de estudo privilegiado sobre a aplicação das teorias culturais. São instituições que tem por finalidade comunicar (em alguns casos), negociar e preservar os aspectos culturais considerados importantes em determinado contexto social. Este ensaio antropológico visa apresentar os resultados obtidos na pesquisa que teve por objetivo investigar o processo de construção do discurso museológico bem como analisar a narrativa expográfica atualmente em exibição no Museu do Homem do Nordeste (Recife -PE) . Considerando os paradigmas propostos pela antropologia interpretativa que tem como foco uma descrição densa na busca de significados possíveis e empreendendo as ações recomendadas por Igor Kopytoff para realização da análise biográfica deste museu, busquei observar as invisibilidades de sua construção discursiva realizando assim um estudo que se constitui como uma antropologia dos museus. Assim desejo contribuir para o debate acerca das atuais representações da identidade regional nordestina e do papel dos museus tradicionais na construção dessas identidades.
Museums are cultural institutions that participate in the process of interpreting cultures, defining and assigning value in a more or less conscious form, therefore making them able to communicate meaning while occupying the status of a privileged object of study for the construction and use of cultural theories. At the same time, their main institutional aim is to communicate (in some cases), negotiate and preserve certain cultural elements that are considered important within a given social context. The present anthropological essay aims at presenting the results obtained during fieldwork at the Museu do Homem do Nordeste (Recife – PE), focused on investigating the process of the construction of the museum’s discourse as well as analyzing the narrative of the exhibit currently on display. In order to produce a study that could be considered an Anthropology of Museums, the author focused on observing the invisible aspects of the museum’s discourse by taking into consideration the paradigms proposed by interpretive Anthropology and its dense description as a form of uncovering possible meanings while following the steps recommended by Igor Kopytoff in order to develop the biographic analysis of the institution. These efforts intend to shed new light on the debates about the construction of Northeastern regional identity representation and the social function of traditional museums within such processes.
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Silva, Luana Gonçalves Viera da. "Públicos idosos e museus no Brasil: formas de atuação e perspectivas - estudo exploratório." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-28112016-152047/.
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Públicos idosos e museus no Brasil: formas de atuação e perspectivas - estudo exploratório Esta pesquisa apresenta um estudo sobre as iniciativas que vêm sendo ou foram desenvolvidas nos museus brasileiros e/ou por museus brasileiros para os públicos idosos. Com base nos conceitos relacionados ao envelhecimento e na investigação sobre o envelhecimento populacional no Brasil, bem como a sua relação com a cultura; procuramos, por meio dos dados levantados em pesquisa empírica, refletir sobre os museus e os públicos idosos tendo como perspectiva a comunicação museológica.This research presents a study of the initiatives that have been or are developed in Brazilian museums and/or by Brazilian museums for the elderly visitors. Based on the concepts related to aging and on the research of population aging in Brazil and its relation to culture, we try through the data collected in an empirical research, consider about museums and the elderly visitors having museological communication as perspective
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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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李褔明 and Fuk-ming Li. "Gambling Museum." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31985920.
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Kwan, Yet-man, and 關逸文. "Toy museum." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B3198289X.
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Lounis, Larbi. "Casablanca Museum." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/81992.
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Architecture has always been about connection since its primary purpose of building a shelter for humans. Among many other things, it provides connections between people, and connections between people and the natural and built environment. The design and building process is about connection as well. We design in the present, relying on the past to build in the future. In this context, time is the strongest connection that is present in most of the built environment around us.
I consider museums to be a good building type that connects people with objects and materials of historical, religious, and cultural importance through preservation and presentation for the public.
Since a very young age, I used to admire the buildings while walking the streets of Casablanca, where I was born. A city that is a combination of traditional Islamic influenced design and the European style of construction brought by the colonizers.
My goal in this thesis is to explore, in an architectural setting, connecting the old city to the new city, and present this story to the general public.Master of Architecture
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Li, Fuk-ming. "Gambling Museum." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25950289.
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