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Dissertations / Theses on the topic 'Museums – Philosophy'

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Published: 4 June 2021
Last updated: 30 January 2023

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1

Edmundson, Jane, and University of Lethbridge Faculty of Fine Arts. "Dr. Soanes' Odditorium of Wonders : the 19th century dime museum in a contemporary context." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Arts, c2013, 2013. http://hdl.handle.net/10133/3426.

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19th century dime museums were a North American phenomenon that flourished in urban centres from the mid- to late-1800s. Named thusly due to their low admission cost, dime museums provided democratic entertainment that was promoted to all classes as affordable and respectable. The resulting facilities were crammed with art, artifacts, rarities, living human curiosities, theatre performances, menageries, and technological marvels. The exhibition Dr. Soanes’ Odditorium of Wonders strives to recapture the spirit and aesthetic of the dime museum to invoke wonder in the viewer and to combine art, artifacts, and oddities to provoke questions about the boundary between education and amusement. Both the academic and curatorial texts utilize a mix of methodological approaches appropriate to museology, art history and cultural history: theoretical research into historiographical issues concerning theories of display and spectacle; archival research and discourse analysis of historical documents, and material culture analysis (including the semiotics of display).
iv, 60 leaves : ill. ; 29 cm
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2

Roberts, Randy C. "Museums as Sites of "Being in Conversation": A Hermeneutic Phenomenological Study." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1373833371.

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3

Chung, Y. S. S. "Transitions : the history and philosophy of County Archaeological Society museums in mid-nineteenth-century England." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597689.

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As a link between academia and the public, museums are institutions that produce and exhibit knowledge. The significance of this knowledge lies in that it forms what is regarded as collective knowledge. Museums have always created this significance through the three functions of preservation, research, and communication of objects. It is of particular interest in this dissertation to see the process in which museums began to emerge as agents in creating collective knowledge. Like museums, prehistoric archaeology as a distinct scientific field of investigation comes to the foreground in England during the mid-nineteenth century. The connection between both the growth of museums and prehistoric archaeology during this period provides an appropriate example of the production and sustenance of collective knowledge. Public museums, as opposed to private collections, already existed since the seventeenth century (e.g., Ashmolean Museum). Learned society museums were established in the late eighteenth century, but the new phenomenon of what was called the county archaeological society museum happened during the mid-nineteenth century. The transition towards congealing into a county archaeological society museum is demonstrated in the art of collecting archaeological objects in order to complete the history of the individual counties. Another transition is visible when archaeological society members try to overcome antiquarianism (particularly, in its dependence on textual data), through the functioning of Temporary Museums, network research, excavations, and two-dimensional sources, such as photographs. The application of relative chronology and the Three-Age System were two more signs that showed the crystallisation process of county archaeological society museums into a more scientific setting during the mid-nineteenth century. The process in which county archaeological society museums formed as public institutions and how they communicated collective knowledge of prehistoric archaeological objects are not matter-of-fact. Various factors such as political, cultural, and scientific are intertwined in these processes. This dissertation explores this network and aims to make a contribution to the history and philosophy of museums and archaeology.
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4

McGhie, Lisa-Maree. "Archaeology and authenticity in select South African museums, and public entertainment spaces." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-02072007-130253.

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5

Butts, David James. "Maori and museums : the politics of indigenous recognition : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Museum Studies at Massey University, Palmerston North." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/251.

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As a result of colonialism indigenous peoples have been marginalised within their own customary territories. In an analysis of the politics of cultural recognition Tully (1995) proposes the reconceptualisation of the 'common ground': sites, including public museums, within which different cultures negotiate their relationships within the modern nation-state, where the rights of indigenous peoples can be recognised on the basis of the principles of mutual recognition, continuity and consent. This thesis examines the impact of the politics of indigenous recognition on the evolving relationships between Mäori and museums, focusing on Mäori participation in the governance of regional charitable trust museums in New Zealand.The international context is explored through an investigation of indigenous strategies of resistance to museum practices at the international, national and local levels. The national context within which Mäori resistance to museum practices has evolved, and subsequent changes in practice are then outlined.Two case studies of regional charitable trust museums, which began to renegotiate Mäori participation in their governance structures in the late 1990s, are examined. The different governance models adopted by Whanganui Regional Museum, Whanganui, and Tairawhiti Museum, Gisborne, both effected major shifts from the historical pattern of limited Mäori participation in the museums to the representation of all tangata whenua iwi on the new trust boards. The governance negotiation processes and the responses of interested parties are analysed. The case studies demonstrate the importance of understanding the historical context within which public institutions are embedded and the forces that lead to contemporary adjustments in power relationships.Both new governance models have resulted in genuine power sharing partnerships between tangata whenua and the museums. Finally, the extent to which the two institutions have subsequently moved towards becoming 'common ground' where the recognition of the rights of indigenous peoples can be realised is analysed.
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6

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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7

Cheung, Chi-wai, and 張志偉. "Museum of Chinese Science and Technology." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982712.

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8

Morakinyo, Olusegun Nelson. "A historical and conceptual analysis of the African Programme in Museum and Heritage Studies (APMHS)." Thesis, University of the Western Cape, 2011. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_5648_1346401876.

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In 1998 the University of the Western Cape together with the University of Cape Town, and the Robben Island Museum introduced a Post-graduate Diploma in Museum and Heritage Studies. This programme was innovative in that not only did it bring together two universities in a programme where the inequalities of resources derived from their apartheid legacies was recognised, but it also formally incorporated an institution of public culture that was seeking to make a substantial imprint in the post-apartheid heritage sphere as part of its structure. In 2003 this programme attracted substantial funding from the Rockefeller Foundation and was rebranded as the African Program in Museum and Heritage Studies (APMHS). While this rebranding of the programme might seem to be innocently unproblematic and commendable as part of the effort at re-insertion of South Africa into Africa after the isolation of apartheid, an analysis of the concepts employed in the rebranding raises serious theoretical, conceptual, and disciplinary questions for heritage studies as an academic discipline and for its connections with other fields, especially the interdisciplinary study of Africa. What are the implications of a programme that brings together the concepts of ʹAfrican-Heritage-Studiesʹ? Does the rebranding signify a major epistemological positioning in the study of Africa or has it chosen to ignore debates on the problematic of the conjunction of the concepts? This study address these issues through a historical and philosophical analysis of the programme, exploring how it was developed both in relation to ideas of heritage and heritage studies in Africa and, most importantly by re-locating it in debates on the changing meaning of 
ʹAfricaʹ in African studies.

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9

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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10

Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.

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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.
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11

Freestone, Mellor Paula. "Sir George Scharf and the problem of authenticity at the National Portrait Gallery." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728997.

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12

Bernardo, Ana Cristina de Aça Castel-Branco e. Almeida. "Formação estética e cidadania-o Palácio da Pena como património artístico e museu histórico de artes aplicadas." Master's thesis, Instituições portuguesas -- UCP-Universidade Católica Portuguesa -- -Faculdade de Ciências Humanas (Lisboa), 1998. http://dited.bn.pt:80/29847.

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13

Sido, Anna E. "Making History: How Art Museums in the French Revolution Crafted a National Identity, 1789-1799." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/663.

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This paper compares two art museums, both created during the French Revolution, that fostered national unity by promoting a cultural identity. By analyzing the use of preexisting architecture from the ancien régime, innovative displays of art and redefinitions of the museum visitor as an Enlightened citizen, this thesis explores the application of eighteenth-century philosophy to the formation of two museums. The first is the Musée Central des Arts in the Louvre and the second is the Musée des Monuments Français, both housed in buildings taken over by the Revolutionary government and present the seized property of the royal family and Catholic Church. Created in a violent and unstable political climate, these museums were an effective means of presenting the First Republic as a guardian of national property and protector of French identity.
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14

Higgins-Linder, Melissa M. "Case Study of the Columbus Museum of Art's Teaching for Creativity Summer Institute." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1499353441955593.

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15

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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16

Thomson, Katherine J. M. "The art museum at the end of art, Arthur C. Danto's Philosophy of art and its implications for the posthistorical museum." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/MQ31259.pdf.

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17

Wunderlich, Antonia. "Der Philosoph im Museum die Ausstellung "Les Immatériaux" von Jean François Lyotard." Bielefeld Transcript, 2006. http://d-nb.info/98874743X/04.

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18

Erskine-Loftus, Pamela F. "What is the relationship western museological practice and philosophy and display in the Sharjah art museum, United Arab Emirates?" Thesis, University of Newcastle Upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531734.

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19

Campbell, Louise. "Arkivverksamhet på museum. En studie av arkivverksamheten på Nationalmuseum och Upplandsmuseet." Thesis, Uppsala University, Department of ALM, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-101441.

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20

Roberts, Kristopher. "your little voice: An autoethnographic narrative on philosophy, technology, relationships, and the arts." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525293031814062.

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21

Dargaj, Matthew Richard. "Maurice Merleau-Ponty and Jean-Luc Nancy: A Shared Concern about Retrospection at the Art Museum." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1309048986.

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22

Werner, Petra. "Ett medialt museum : lärandets estetik i svensk television 1956-1969." Doctoral thesis, Södertörns högskola, Estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30912.

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This thesis investigates the aesthetic interpretation of learning processes in television produced and broadcast in Sweden between 1956 and 1969. The thesis explores how these programmes are linked to concepts of Bildung by their aesthetics, by which the intangible cultural heritage is entrusted in the form of oral and visual traditions, storytelling and games/play, where learning is the common denominator. The programmes are divided into three categories: aesthetics of attentiveness, aesthetics of tale/storytelling and aesthetics of play. The detailed, thick, descriptions of the programmes emanating from the close-readings shall be, together with the aesthetic categories that I have formulated and expressed in a model, regarded as the survey’s key findings. The starting point of the central theoretical model of the thesis is André Malraux’s idea of an imaginary museum of imagination in which photo reproductions can constitute a collective memory, and thus bepart of an intangible heritage. Based on this idea of ​​an imaginary museum, I have constructed a conceptual model called a medial museum, valid in its own time as well as for posterity. The theoretical models that the study gain support from are characterized by phenomenological and hermeneutical perspectives, as I refer to  a phenomenological-hermeneutical method when analysing the programmes, and at the same time underline the phenomenological-hermeneutically based aesthetics in the analysed programmes, where aesthetic interpretation of learning processes in terms of attentiveness, tale and play is of a phenomenological-hermeneutic character. For a broad perspective on learning processes, theoretical support is acquired both from the German philosopher Hans-Georg Gadamer and his hermeneutic of traditions and from the French philosopher Jacques Rancière and his emancipatory ideas of pedagogy and aesthetics. Furthermore, the French philosopher Paul Ricœur and his thoughts on importance of storytelling for knowledge formation have had significant influence on the work. Regarding the concepts of play, I have made use of both Gadamer’s ideas of ​​art experience as play and of Donald W. Winnicott’s theories about play as transitional area. In the programmes’ aesthetics is found a depiction of a broadened interpretation of Bildung, where processes of learning comprise a direct sensual perceiving, attentiveness, storytelling/tale and play. Moreover, within the programmes’ managing of an intangible cultural heritage, I have found an expression of an interplay between modernity and tradition, with emphasis on the historical significance of the present, and rooting in the past of everyday life, where expectation on the future and the memory of the past can co-exist. To summarise, the study suggests the possibility to understand aesthetics as an epistemology using sensuous experience as basis for a conceptual knowledge about how to understand the world. Thereby, one can comprehend aesthetics as pedagogy per se.
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Hänle, Martina [Verfasser], and Heinz [Akademischer Betreuer] Mandl. "Präimplantationsdiagnostik, ja oder nein? : Förderung einer informierten und gut begründeten Entscheidung im Bereich Medizinethik mit einer multimedialen Lernumgebung im Museum / Martina Hänle. Betreuer: Heinz Mandl." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2012. http://d-nb.info/1026653622/34.

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24

Mouraviev, Sergueï Nikititch, and Héraclite d'Éphèse. "Poétique et philosophie chez Héraclite. Introduction à la problématique." Paris 4, 1996. http://www.theses.fr/1996PA040130.

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La thèse a pour but de montrer que le texte des fragments d'Héraclite, tout en étant incontestablement philosophique de par son contenu, est un texte éminemment poétique de par son langage, un langage extrêmement sophistiqué qu'il est absolument indispensable de connaitre pour accéder à la totalité de son message. La thèse se divise en quatre parties et des annexes. La partie historique comprend une édition, avec traduction et commentaire, des témoignages anciens sur le style et l'obscurité légendaire du philosophe et un historique des recherches modernes sur la question de Schleiermacher à nos jours. La partie linguistique examine tour à tour la relation entre les fonctions référentielle et poétique du langage, notre conception de la structure syntagmatique du texte et l’état actuel de nos connaissances sur le texte, le dialecte et l'entour pragmatique du livre de l'éphésien. La partie poétologique analyse en détail, niveau par niveau, la dimension poétique des fragments héraclitéens : rythme, métrique, effets sonores, configurations graphiques, récurrences phonosémiques et morphosémiques, parallélismes, chiasmes et autres schèmes tactiques, configurations syntaxiques et sémantiques (apokoinous, polyphonies diverses, jeux de mots, antithèses, oxymores, images, comparaisons, énigmes, etc. )
The aim of the dissertation is to show that while being undoubtedly philosophical as to their content, the fragments of Heraclitus are written in a markedly poetical and extremely sophisticated language which it is necessary to know to fully understand his message. The dissertation falls into four parts and appendices. The historical part consists of an edition with translation and commentary of the ancient testimonia on the style and proverbial obscurity of the philosopher and of a history of modern researches on the same subject, from Schleiermacher to the present day. The linguistic part examines the relation between the referential function and the poetical function of language, our conception of the syntagmatic structure of a text, and the present state of our knowledge on the text, dialect and pragmatic context of Heraclitus' book. The poetological part consists of a detailed analysis of all the levels of the poetical dimension of the fragments: rhythm, metrics, sound effects, graphical configurations, phonosemical and morphosemical repetitions, parallelisms, chiasmic and other tactical structures, syntactical and semantical configurations (apokoinous, various polyphonies, word play, antitheses, oxymora, images, comparisons, riddles, etc. )
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25

Lancha, Janine. "Muses, poètes, philosophes, scènes littéraires et dramatiques dans les mosaïques des provinces occidentales de l'Empire romain : Ier - IVe s. ap. J.-C." Paris 10, 1989. http://www.theses.fr/1989PA100074.

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Etablit un catalogue analytique de 117 no de mosaïques illustrant des sujets de la culture gréco-romaine et découvertes dans les provinces occidentales (Italie exclue). Un assez grand nombre de ces documents, en Hispanie et en gaule sont pratiquement inédits. La richesse de cette documentation permet de tracer, dans la synthèse qui suit le catalogue, les lignes directrices d'une histoire des mentalités, et du rôle de la culture dans la romanisation des provinces, dans le cadre de la vie terrestre et privée. L'examen des sources littéraires des sujets illustres dans les mosaïques et celui des textes contemporains des pavements, du Ier au Ie s. Montre les points de convergence et quelquefois les différences qui existent entre la tradition littéraire et la tradition iconographique. Importance des papyrus illustres, puis des manuscrits illustres des textes classiques ainsi que des tableaux célèbres de la peinture grecque dans la transmission de l'iconographie des sujets culturels. L'a. Démontre l'étonnante longévité de la culture antique dans la classe aristocratique des grands possédants païens du ive s. Pour lesquels elle constitue le fer de lance d'un militantisme païen dans un monde devenu chrétien désormais
The a. Establishes an analytic catalogue of the 117 numbers of mosaics illustrating subjects coming from the greco-roman culture in the occidental provinces of the roman empire (except italy). Some of these documents, numerous enough, from hispania and from gaul, are practically unpublished. The richness of such a documentation allows the a. To draw, in the synthesis which follows, the outlines of a history mentalities and of the part played by greco-roman culture in the process of romanisation, in the particular range of terrestrial and private life. The special attention paid to the literary sources of the subjects and to the texts contemporaneous of the mosaics shows interesting convergences or differences between them. Importance of illustrated papyrus and then manuscripts of the classical texts, and of famous greek paintings in the transmission of the iconography of these subjects. The a. Proves the surprising longevity of the antique culture in the aristocratic class of the great pagan owners of the iv th cent. : they use their classical culture as a weapon in their fight against a definitely christian world
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La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.

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27

Jones, Jared. "Winging It: Human Flight in the Long Eighteenth Century." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1565963832584991.

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28

Rocha, Eva. "Antithetical Commentaries on X, Y and the Disruption of Being." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4278.

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Through discursive essays and poetic narrative, Antithetical Commentaries on X, Y and the Disruption of Being explores the tenuous relationship between modes of measurement and the struggle for human relevance in the post-contemporary digital age. In the introductory essay, “Not the Feather, but the Bird”, I give an overview of the inherent problems of object-oriented ontology, and how it relates to aesthetics and social issues of our times. In the Developmental Overview, I detail how I developed my installation approach and techniques, particularly with regard to the three-way dynamic of the artist:work:viewer relationship and how it can encourage a ‘transgression’ that leads to the possibility of a transformative awareness of being. Subsequently, I present a series of ‘antithetical’ commentaries that neither explain nor expand the installation, rather, they create a non-binary duality that, through an entirely non-linear anti-narrative, work to erode the overlay of personal, civic and collective grids present in the memory space/time referenced in the video, TAG. Finally, in “Grid: Towards a Transgressive Humanism.” I propose a path by which installation art might serve to create transgressive opportunities for viewers, rather than the transcendence sought through religious rituals, which often reinforce stigmas, fears and authoritarian social dynamics, or worse, the reductive loop, of many contemporary approaches to art which proclaim their detachment in wordy displays, essentially leading to a form of aesthetic nihilism. This Transgressive Humanism is not presented as a dogma, but rather a revitalization of the work as a vessel of possibilities, an agent of creative growth for the artist and the viewer.
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Leveau, Pierre. "Épistémologie de la conservation du patrimoine : ontologie d'un domaine, ergologie d'une discipline." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3088.

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Ce mémoire est une mise à jour philosophique du modèle conceptuel défini par Aloïs Riegl dans son ouvrage sur Le culte moderne des monuments. Pour faire cet aggiornamento, nous présentons dans une première partie ce modèle et l'énigme qu'il contient. Dans la deuxième, nous décrivons le paradigme que les premières communautés patrimoniales adoptèrent dans l'Entre-Deux-Guerres pour la résoudre, puis nous introduisons dans la troisième les concepts qui ancrent leur paradigme dans le monde actuel et nous formulons l'énigme qu'il pose maintenant aux professionnels. Historiquement, nous démontrons ainsi la continuité de l'institution patrimoniale, d'A. Riegl à nos jours. En dépouillant les archives de la Commission internationale de Coopération intellectuelle, nous prouvons que l'ONU et l'UNESCO n'ont pas créé les réseaux de conservation que nous connaissons, mais ont hérités de ceux que la SDN et la CICI tissèrent avant-guerre en fédérant les institutions et les associations qui existaient alors. Philosophiquement, nous mettons au jour le fondement ontologique et épistémologique de l'institution patrimoniale en étudiant différents modèles conceptuels. Nous expliquons comment le réalisme structural peut concilier les théories réalistes et constructivistes qui pourraient s'opposer ici et comment l'approche processus permet d'unifier ses secteurs sans nier les différences de nature qui existent entre ses objets. Notre thèse est que l'on peut modéliser le domaine en interconnectant les points de vue de ses acteurs. Pour l'établir, nous répondons à la question de savoir ce qu'est le patrimoine, comment fonctionne son institution et sur quoi se fonde sa conservation
This doctoral thesis on epistemology of conservation is a philosophical update of the conceptual model defined by Alois Riegl in his book on The Modern Cult of Monuments. The first part presents the model and its riddle in order to perform this aggiornamento. The second part describes the paradigm adopted by the first heritage communities between the two world wars in their attempt to resolve it. The third part introduces the concepts that connect their paradigm with the present world and formulate the riddle challenging current professionals. The author proves the historic continuity of the heritage institution from A. Riegl to our days. By examining the archives of the International Committee on Intellectual Cooperation (ICIC), he demonstrates that the UN and UNESCO didn't create the heritage networks that we know today but that they originate from the networks of institutions and associations organized by the League of Nations and ICIC before World War I. Philosophically, he brings to light the ontological and epistemological foundation of the heritage institutions by studying several conceptual models. He explains how structural realism can reconcile realism with constructivism, even as they seem to be opposite theories, and alson how the processus approach can unify its parts without negating the differences of nature between its objects. His thesis is that almost all of the domain can be modelized by interconnecting the points of view of all its actors. To establish this point, he answer the following questions : what is heritage ? How does its institution function ? What is its conservation funded upon ?
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Dlamuka, Mxolisi Chrisostomas. "Identities, memories, histories and representation : the role of museums in twentieth century KwaZulu-Natal." Thesis, 2003. http://hdl.handle.net/10413/10394.

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The history of museums in South Africa dates back to 1825 when the South African Museum (SAM) was established in Cape Town. Initially museums in South Africa were established for science and local history was seen as peripheral. Nevertheless, this began to change during the early 1920s as artifacts of historical nature gained popularity, saving them from historical oblivion in museums. Museums themselves broadened their role to become major centres of both scientific and historical knowledge. When museums started to include historical artifacts, they entered a terrain which was influenced by a racist ideology of segregation and then apartheid. Thus, they became centres of political discourse and mirrors of the white domination in South Africa. From the 1920s museums served to propagate certain myths which was based on the subjugation of Africans by white settlers. Museums played a pivotal role in entrenching ideas of white settlement in Natal as a triumph over barbarism, savage and heathenism. Exhibitions within the museums reflected certain identities at the expense of others. It was not until the 1980s that the political scenario forced museums to examine their role and adapt to the new order. This marked the beginning of a new dispensation in the politics and poetics of museum displaying. During the 1990s issues of representation in museums became popular. Historians were among those who became interested in the question of how to represent the South African a turbulent past in a post apartheid South Africa. This era was characterized by new displays which are more accommodative and represent diverse population groups of South Africa. Exhibitions in museums always involve political ramifications and ideas within exhibitions draw reference to the powerful groups in the making of political and social discourse. During the post- apartheid era, KwaZulu-Natal museums reflect new identities which are based on non-racialism and interaction of diverse people of the province. They no longer serve as reference point for white domination and educational programmes are more multidimensional and appeal to all sectors of our society. The thesis adopted in this piece of work is that museums are political institutions and reflect the political identities of the society that they live. They cannot be divorced from their time and circumstances.
Thesis (M.A.)-University of Durban-Westville, 2003.
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31

Philp, Angela. "Museums and the public sphere in Australia : between rhetoric and practice." Phd thesis, 2006. http://hdl.handle.net/1885/109229.

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Cairns, Susan Jane. "The museum qua: the evolution of a knowledge institution in an era of pervasively networked information infrastructure." Thesis, 2015. http://hdl.handle.net/1959.13/1062779.

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Professional Doctorate - Doctor of Philosophy (PhD)
The introduction of digital networked technologies, including the Internet, as the fundamental basis for communication in developed societies has added new dimensions of complexity to the museum’s task of epistemological and cultural perpetuation. As the digital network grows, as multivectoral connections between people and data become possible, aggregated along multiple, complex dimensions, knowledge is being transformed on multiple fronts. New tools and technologies for knowledge work alter the problems of knowledge and the ways such problems can be solved. Changes to the technologies for communicating alter the dynamics of knowledge by changing what it is possible to know; how such knowledge is created and legitimised; and by enabling participants to contribute to knowledge work. Set against a background of a changing information infrastructure, this dissertation will therefore seek to articulate what it might mean for the museum qua museum and qua knowledge institution to be ‘of the network’? It will consider the nature of institutions, and explore how institutions enable cultural perpetuation, and create the context for knowledge. This dissertation will explore multiple ways that the museum participates in the information infrastructure, and consider how such participation shapes the museum as knowledge institution, and how that shapes the dynamics of knowledge. It will become evident that the networking of knowledge and information infrastructures is changing knowledge work, and therefore knowledge institutions. This dissertation will ultimately argue that for museums qua knowledge institutions to achieve the institutional mission of collecting, storing, sharing, and legitimising the objects of knowledge from the present and past for the benefit of both now and the future in ways that are appropriate in the context of networked information infrastructure, alternative tactics, strategies, and fundamental assumptions are necessary.
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Fitzpatrick, Peter Gerard Media Arts College of Fine Arts UNSW. "The Doulgas Summerland collection." 2007. http://handle.unsw.edu.au/1959.4/44257.

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The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253
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Dibley, Ben. "Expositions : theory, culture, museum." Phd thesis, 2004. http://hdl.handle.net/1885/146406.

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Legget, Jane Anne. "Mapping what matters in New Zealand museums : stakeholder perspectives on museum performance and accountability : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Management and Museum Studies, Massey University Albany, Auckland, New Zealand." 2006. http://hdl.handle.net/10179/1546.

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Accountability for museum performance was investigated in the context of New Zealand's public museums. Governing bodies account for museum performance through published annual reports, while performance assessment assists museum managers to achieve museums' objectives. Museum professionals also have expectations of museums. This research questioned whether museums were reporting on the aspects of their performance that mattered to a wider range of stakeholders. The research is both descriptive and exploratory. A nationwide survey of museum directors gathered data about performance assessment at publicly-funded museums where one or more paid staff made management decisions. The Survey's descriptive findings, covering experiences and views of museum assessment practice, set the wider context for an exploratory Case Study of a large museum, combining qualitative and quantitative methods. Various groups of stakeholders identified aspects of the case museum's performance that matter to them and the ways in which they might assess them. Maori perspectives were contributed by several participants, a recognition of the importance of taonga Maori collections in New Zealand museums. Diverse museum stakeholders co-created statements as potential performance assessment criteria. A concept mapping process, involving these statements, revealed distinct conceptual elements of the construct, an 'effectively performing museum', reflecting the respondent groups' differing realities, yet much common ground. Three analytical approaches, functional, structural and cultural, compared and contrasted the concepts and their relative importance. The research identified dimensions of museum performance that could contribute to an integrated framework for museum performance assessment meaningful to a wider range of stakeholders. A conceptual model for museum accountability was developed. Findings suggest that museum performance indicators in New Zealand should extend beyond a focus on visitor numbers and satisfaction to include collection health, staffing quality, Maori concerns and community relationships. Assessment of these factors would enable museums to better account for their performance as community assets.
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KANG, CHIA-CHI, and 康家綺. "An Analysis for Management Philosophy of the First Mountaineering Museum in Taiwan." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/d3335s.

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碩士
康寧大學
休閒管理研究所
105
"Dēngshān gùshì guǎn" is the first mountaineering museum in the country. Although still in a pioneering stage, the representation by tangible or intangible collections of mountain equipments and interesting stories of individual and perceived experiences is main aim to practice the characteristics of museum. The hardware and software in this museum is currently all created by the personal resources. As such a scale of a private museum, the efforts of the curator are quite rare and commendable. The soul of the museum, Curator Dìng-Guó Shào, nicknamed "Goat", is a well-known mountaineering expert in Taiwan. Making efforts for a long time in popularizing the perception of mountains and mountain-climbing ethics, Goat was also the participant of the first Taiwan Mount Everest program. Because of such a backstage driving force, this museum over the years called for a plurality of supports which congregate from the nature lovers, and this force lead the museum gradually into the road to become an international museum. This paper will introduce the historical background of "Dēngshān gùshì guǎn" and the curator's life course of mountain. Through the analysis of business philosophy, try to find the possible factors and contexts for the success of the museum, and take a insight of its unique positive mountaineering philosophy. This study observes the advantages of the location of "Dēngshān gùshì guǎn" by the geographical location analysis, and demonstrates the unique concept of the museum business philosophy by the narrative analysis. Through the interviews, gradually sculpture and elaborate on the business philosophy to find the spirit of the practical intentions. Even more, it emerges that the business philosophy and the life management philosophy of Goat is the same one. Meanwhile, the museum, or say Goat, has silently made a long-term work for the mountaineering culture. Sustainable management of "Dēngshān gùshì guǎn" provides a platform for lifelong learning, and gives the opportunity to reflection and think about the universal value of mountain culture. As the "Goat", Dìng-Guó Shào, said: "Mountain is our mother to breed us farming land and clean water. Mountain is our father to give us fresh air and storm blessing. Mountain is the protection and the residence of our life, but also the dependency and the return of our soul." Look forward to cherish this piece of land more and more by us which walking through in different time of life spectrum.
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Webb, Guiniviere Marie. "Origins and philosophy of the Butler Art Gallery and Labor Museum at Chicago Hull-House." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2602.

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Jane Addams influenced the lives of many immigrant Chicagoans through offering a variety of community oriented services including art education programs at the Hull-House. This study examines the origins and philosophy of both the Butler Art Gallery and Labor Museum, and discusses each program’s role for residents, visitors, and guests of Hull-House. In addition to providing a historical basis for Jane Addams as an art educator, this study discusses the techniques for community organization that were utilized by Hull-House residents, including Jane Addams and Ellen Gates Starr.
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Nawa, Christine. "Sammeln für die Wissenschaft?" Master's thesis, 2005. http://hdl.handle.net/11858/00-1735-0000-000D-F1CC-C.

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Curtin, Abby. "Rethinking Landscape Interpretation: Form, Function, and Meaning of the Garfield Farm, 1876-1905." Thesis, 2014. http://hdl.handle.net/1805/5852.

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Indiana University-Purdue University Indianapolis (IUPUI)
The landscape of James A. Garfield’s Mentor, Ohio home (now preserved at James A. Garfield National Historic Site) contains multiple layers of historical meanings and values. The landscape as portrayed in political biographies, political cartoons, and other ephemera during Garfield’s 1880 presidential campaign reveals the existence of the dual cultural values of agrarian tradition and agricultural progress in the late nineteenth century. Although Garfield did not depend on farming exclusively for his livelihood, he, like many agriculturalists of this era participated in a process of mediation between these dual values. The function of the landscape of Garfield’s farm between 1876 and 1880 is a reflection of this process of mediation. After President Garfield’s assassination in 1881, his wife and children returned to their Mentor home. Between 1885 and c. 1905, Garfield’s widow Lucretia made numerous changes to the agricultural landscape, facilitating the evolution of the home from farm to country estate. Despite the rich history of this landscape, its cultural complexity and evolution over time makes it difficult to interpret for public audiences. Additionally, the landscape is currently interpreted exclusively through indoor museum exhibits and outdoor wayside panels, two formats with severe limitations. I propose the integration of deep mapping into interpretation at James A. Garfield National historic site in order to more effectively represent the multi-layered qualities of its historic landscape.
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Peterson, Erik C. "Playing, learning, and using music in early Middle Indiana." Thesis, 2013. http://hdl.handle.net/1805/3804.

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Indiana University-Purdue University Indianapolis (IUPUI)
This thesis is a study of how people in the nine counties of central Indiana learned, appreciated, and performed music from 1800 to 1840. A concluding proposal for a public history application of this research is included.
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