To see the other types of publications on this topic, follow the link: Museums.
Dissertations / Theses on the topic 'Museums'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Museums.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
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.
Full text
3
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/.
Full textAbstract:
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.
4
Wise, Emily D. "Development Strategies of Historic House Museums." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1216866930.
Full text
5
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.
Full text
6
Barker, Lesley Aileen Pendleton. "Repurposing museum interpretation in American historic house museums." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/41082.
Full textAbstract:
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.
7
Sturgess, Caroline. "The marketization of museum discourse? a case study of the Auckland Museum 1978-2006 : a dissertation submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Bachelor of Communication Studies with Honours (BCS (Hons)), 2007." Abstract. Full dissertation, 2007.
Find full textAbstract:
Dissertation (BCS (Hons)--Communication Studies) -- AUT University, 2007.Includes bibliographical references. Also held in print (iii, 53 leaves ; 30 cm.) in City Campus Theses Collection (T 069 STU)
8
Essig, Timothy W. "An examination of visitor services and personnel ethics training programs for several museums in the Pennsylvania Historical and Museum Commission." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1999. http://www.kutztown.edu/library/services/remote_access.asp.
Full textAbstract:
Thesis (M.P.A.)--Kutztown University of Pennsylvania, 1999.Source: Masters Abstracts International, Volume: 45-06, page: 2939. Typescript. Abstract precedes thesis as preliminary leaves. Includes bibliographical references (leaves 65-68).
9
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.
Full textAbstract:
Submitted by Marcia Bacha (marcia.bacha@fgv.br) on 2012-01-13T16:53:37Z
No. of bitstreams: 1
tese cpdoc.pdf: 3803197 bytes, checksum: 21e49b28abb431e5d49e6b7ba218f049 (MD5)Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2012-01-13T16:54:00Z (GMT) No. of bitstreams: 1 tese cpdoc.pdf: 3803197 bytes, checksum: 21e49b28abb431e5d49e6b7ba218f049 (MD5)
Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2012-01-13T16:54:09Z (GMT) No. of bitstreams: 1 tese cpdoc.pdf: 3803197 bytes, checksum: 21e49b28abb431e5d49e6b7ba218f049 (MD5)
Made available in DSpace on 2012-01-13T16:54:17Z (GMT). No. of bitstreams: 1 tese cpdoc.pdf: 3803197 bytes, checksum: 21e49b28abb431e5d49e6b7ba218f049 (MD5) Previous issue date: 2011
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.
10
Jarosova, Marketa. "First Nations, museums and McCord Museum's journey Across borders." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64097.pdf.
Full text
11
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.
Full textAbstract:
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.
12
Barr, Mary J. Hobbs Jack A. "Functions of art museums as perceived by art museum educators and directors." Normal, Ill. Illinois State University, 1988. http://wwwlib.umi.com/cr/ilstu/fullcit?p8818707.
Full textAbstract:
Thesis (Ed. D.)--Illinois State University, 1988.Title from title page screen, viewed September 2, 2005. Dissertation Committee: Jack Hobbs (chair), Susan Amster, John McCarthy, William Talone. Includes bibliographical references (leaves 99-103) and abstract. Also available in print.
13
Smith, Martha Kellogg. "Art information use and needs of non-specialists : evidence in art museum visitor studies /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/7182.
Full text
14
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.
Full textAbstract:
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
15
Dailey, Taren Laine. "Museums in the Age of Neoliberalism: A Multi-Sited Analysis of Science and Health Museums." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-12032006-111240/.
Full textAbstract:
Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Emanuela Guano, committee chair; Cassandra White, Kathryn Kozaitis, committee members. Electronic text (80 p.) : digital, PDF file. Description based on contents viewed May 3, 2007. Includes bibliographical references. Includes bibliographical references (p. 73-76).
16
Murriello, Sandra Elena. "As exposições e seus publicos : a paleontologia no Museo de La Plata (Provincia de Buenos Aires, Argentina)." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/287025.
Full textAbstract:
Orientador: Maria Margaret LopesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociencias
Made available in DSpace on 2018-08-05T20:39:23Z (GMT). No. of bitstreams: 1 Murriello_SandraElena_D.pdf: 14825804 bytes, checksum: 45916d6bf7d7c3f01c5d850370b3d210 (MD5) Previous issue date: 2006
Resumo: Esta tese pretende ser uma contribução à compreensão do diálogo estabelecido nas instituições museais com seus múltiplos visitantes, o que vem permitindo a sobrevivência, quando não a transformação, e consolidação dos museus como espaços culturais valorizados socialmente. Em particular, analiso a relação estabelecida entre o público do Museo de La Plata (Província de Buenos Aires, Argentina) e suas exposições paleontológicas. Essas exposições e suas valiosas coleções são as mais procuradas pelos visitantes e, por isso, foram as que desde o início deram maior renome nacional e internacional à instituição. Com o objetivo de compreender como foi e ainda vem sendo construída a relação públicos-exposição através do tempo de existência desta instituição, abordo a conformação e as transformações de suas exposições paleontológicas. Proponho uma periodização que responda a distintos arranjos museográficos e procuro desvendar a trama das relações sócio-históricas em que foram construídos e mantidos. Esta análise se baseia em material documental e fotográfico que foi levantado e datado como parte da própria pesquisa. Entrevistas pessoais também foram realizadas para recolher opiniões e complementar os dados levantados. A proposta museográfica atual é abordada com maior detalhe com base nas próprias apresentações institucionais. Para me aproximar dos públicos não escolares do Museo de La Plata realizei um estudo exploratório de campo nos anos 2002, 2003 e 2005 através de entrevistas, enquetes e observações de percurso. A experiência museal dos seus públicos foi analisada tomando como referencial o modelo de aprendizagem contextual de Falk e Dierking (2000). A procura dos pontos de encontro e desencontro entre os objetivos institucionais e a geração de sentido da exposição pelos visitantes norteou esta pesquisa, a qual tenta abrir novos questionamentos sobre o diálogo estabelecido nas exposições paleontológicas do Museo de La Plata. A pesquisa evidencia a valorização social deste museu como um espaço de lazer educativo e familiar onde se produz um encontro com os objetos através dos atributos que lhes são outorgados pela instituição e pelos próprios visitàntes. Porém, esse diálogo também se vê afetado pelos desencontros proporcionados por problemas museográficos e de interpretação da narrativa institucional. Procurei salientar a importância de conhecer e considerar o público ao plan~ar as exposições de museus e a necessidade da realização de estudos sistemáticos de público no Museo de La Plata
Abstract: This thesis intends to aid in understanding the dialogue established in museums with their multiple visitors, which permit their subsistence, transformation and consolidation as cultural spaces which are valued socially. Herein I am analyzing in particular the relation established between the visitors to the Museo de La Plata (Province of Buenos Aires, Argentina) and its paleontologica1 exhibitions. Giftoo with valuable collections, these exhibitions are the most convoking for the public visiting the Musaun and, ever since it was founded -towards the end of the 19th centuryhave strongly contributed to the institutions national and international renown. With the objective of understanding how the relation visitors-exhibition was formed, I undertake the conformation and transformation of its paleontological exhibitions throughout all the time this institution has existed. Hereby I suggest considering periods, which respond to the different museographic proposals and aim to come to an understanding of the scheme of the socio-historic relations in which these exhibitions were built and kept. This analysis is based on photographic and documental material which has been embossed -and in some cases dated- as part ofthe investigation. The present proposal ofthe museum regarding its paleontological rooms is undertaken in detail, analyzing the institution's own presentation. In order to get a dose look at the interpretation which the non escolastic visitors to the Musaun make of its paleontological exhibitions, I have carried out an exploratory field study during the years 2002, 2003 and 2005 by means of interviews, surveys and observing tracking in the rooms. The musaun experience of its visitors was analyzed taking as a reference Falk & Dierking's (2000) model of contextuallearning. What 100 to this research which intends to open new questionings regarding the dialogue established in the Museo de La Plata exhibitionswas the search for points in common -and others that are not- between the institutional objectives ofthe exhibition and the sense they made to the visitors. This research shows the way in which the Musaun is valued socially as a family space for pleasure and education, in which people are faced with the objects by means of the characteristics conferred to these by the institution and by the visitors. Nevertheless, such dialogue is somehow affected by conflicts generated by museographic problems and ofinterpretation ofthe institutional narrative. It is here intended to stress the importance of knowing and considering the visitors when planning exhibitions in museums and it is recommended that systematic studies of the visitors might be carried out in the Museo de La Plata
Doutorado
Doutor em Ciências
17
Munro, Ealasaid. "Therapeutic museum? : social inclusion and community engagement in Glasgow museums." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8000.
Full textAbstract:
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.
18
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.
Full text
19
Moreira, Antonia Camila Alves. "O museu na escuta - a experiência na formação de educadores." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/5681.
Full textAbstract:
Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-06-09T18:44:48Z
No. of bitstreams: 2
Dissertação - Antonia Camila Alves Moreira - 2016.pdf: 1327251 bytes, checksum: 940c47c37b17cbaa43f2f815c8d5a6b9 (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-06-10T13:09:50Z (GMT) No. of bitstreams: 2 Dissertação - Antonia Camila Alves Moreira - 2016.pdf: 1327251 bytes, checksum: 940c47c37b17cbaa43f2f815c8d5a6b9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Made available in DSpace on 2016-06-10T13:09:50Z (GMT). No. of bitstreams: 2 Dissertação - Antonia Camila Alves Moreira - 2016.pdf: 1327251 bytes, checksum: 940c47c37b17cbaa43f2f815c8d5a6b9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2016-03-01
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In this reserach, the axis of discussion is the Art Museum Educator Formation. From the shared experience of Museum Studies Group, Museum in listen, and guided by the action-research principles, the research paths intertwine, intermingle and unfold on my journey of educator-researcher, in perspective of the experiences of participants of/in research - between conversations and listenings, and in line with the reflections on the role of education in exhibition spaces and art museums. The main objective of the research was to establish listening process between educators and concerned about Education in Museums, in order to build arguments on the concept of experience at the Art Museum Educator Formation and also on the role of Visual Culture in the process of formation. The Studies Group added Art Course undergraduate students and related areas, the Federal University of Goiás (UFG), and its activities developed in meetings at the Cultural Center of UFG, from period of September to December 2014.
Nesta pesquisa, o eixo de discussão é a Formação de Educadores de Museus de Arte. A partir da experiência compartilhada no Grupo de Estudos Museu na Escuta e orientados pelos princípios da pesquisa-ação, os caminhos de investigação entrelaçam, imbricam e se desdobram sobre o meu percurso de educadora-pesquisadora, em perspectiva das experiências dos participantes da/na investigação – entre conversas e escutas, e em consonância com as reflexões sobre o papel da Educação em espaços expositivos e Museus de Arte. O objetivo central da pesquisa foi instaurar processos de escuta entre Educadores e interessados sobre Educação em Museus, com o propósito de construir argumentos sobre o conceito de experiência na Formação de Educadores de Museus de Arte e também sobre o papel da Cultura Visual nesse processo de Formação. O grupo de estudo agregou estudantes de graduação do curso de Artes e áreas afins, da Universidade Federal de Goiás (UFG), e suas atividades desenvolveram-se em reuniões no Centro Cultural UFG, no período de setembro a dezembro de 2014.
20
Tzeng, Shin-Chieh. "Comparative research into the museum governance systems of national museums in the UK and Taiwan." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/768.
Full text
21
Settle, Lora Elizabeth. "Museums That "Matter": An Analysis of Four History Museums." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/42715.
Full textAbstract:
Museums have, in recent years, experienced an increasing amount of pressure to fulfill their role as public institutions for both education and entertainment. For museums to ensure their success in this role, they must constantly investigate their operations in order to maximize their effectiveness. Common museological theories and literature are shared by museum professionals across the globe, roughly forming an ideal standard for museums. This study argues, however, against an ideal standard in favor of museums being evaluated in their own right. Elements of Stephen E. Weil's system of evaluation described in Making Museums Matter (2002) â and specifically his four evaluative criteria of purposiveness, capability, effectiveness, and efficiency â are employed in this study in order to evaluate four history museums â the building for the protection of the royal tombs of Vergina, Greece, the Museum of Byzantine Culture in Thessaloniki, Greece, the Archaearium at Historic Jamestowne, Virginia, and the Museum of the Confederacy in Richmond, Virginia. The use of these four criteria allows for a basic understanding of the ways in which the museums in this study have become successful despite their variance from an ideal standard.Master of Arts
22
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.
Full textAbstract:
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.
23
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.
Full textAbstract:
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.
24
Sanjad, Nelson Rodrigues. "A coruja de Minerva: o Museu Paraense entre o Império e a República: 1866-1907." reponame:Repositório Institucional da FIOCRUZ, 2005. https://www.arca.fiocruz.br/handle/icict/6144.
Full textAbstract:
Made available in DSpace on 2013-01-07T15:59:30Z (GMT). No. of bitstreams: 2
license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5)
17.pdf: 73521628 bytes, checksum: a8c8c4cdc58e83bc9a650c371f695541 (MD5)
Previous issue date: 2005O objetivo da tese é refletir sobre a construção institucional do Museu Paraense Emílio Goeldi entre a década de 1860, quando foi criado, e o final da gestão do zoólogo suíço Emílio Goeldi (1859-1917), em 1907. Nessa ocasião, o Museu Paraense ocupava um lugar de destaque no cenário científico brasileiro em razão da intensa produção científica que aí se verificou. Na tese são analisadas as mudanças políticas que posicionaram o Museu Paraense, após o golpe republicano de 1889, como uma das instituições estaduais prioritárias em termos de aplicação de recursos financeiros e como importante símbolo para a identidade das elites locais. A construção do museu após essa re-qualificação é estudada a partir do perfil estipulado para a instituição, do espaço construído, da equipe contratada, da agenda científica e das relações políticas locais, expressas por meio do aporte de recursos e da receptividade do diretor do museu às demandas estatais. Os resultados atestam que a proclamação da República e o conseqüente sistema federalista implantado no Brasil são marcos fundamentais para a história do Museu Paraense, uma vez que permitiram à instituição se especializar nos estudos sobre a região amazônica, que já se configurava, na segunda metade do século XIX, como fronteira econômica.
The goal of the thesis is to reflect upon the institutional construction of the Museu Paraense Emílio Goeldi (Emílio Goeldi Museum of Pará) between the decade of 1860, when it was created, and the end of turn of the Swiss zoologist Emilio Goeldi (1859-1917) as its director, in 1907. At this time, the Museu Paraense occupied a place of prominence on the Brazilian scientific scene, due to the intense scientific production that was instantiated there. In the thesis, we analyzed the political changes that placed the Museu Paraense, after the republican blow of 1889, as one of the priority state institutions in terms of application of financial resources and as important symbol for the identity of the local elites. The construction of the museum after this re-qualification is studied based on the profile stipulated for the institution, the built space, the hired staff, the scientific agenda and the relations with the local politicians, which are expressed by the allocation of resources and the willingness of the museum director to attend the state demands. The results attest that the establishment of the Republic and the consequent federalist system enforced in Brazil are essential landmarks for the history of the Museu Paraense, for they have permitted the institution to specialize in the studies on the Amazonian economic frontier.
25
Din, Herminia Weihsin. "A history of children's museums in the United States, 1899-1997: implications for art education and museum education in art museums." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1247850292.
Full text
26
Din, Herminia. "A history of children's museums in the United States, 1899-1997 : implications for art education and museum education in art museums /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487953204279663.
Full text
27
Fraser, Jemima W. "Museums, drama, ritual and power : a theory of the museum experience." Thesis, University of Leicester, 2009. http://hdl.handle.net/2381/4223.
Full textAbstract:
This thesis presents a new model of the museum visitor experience. My model analyses the dynamic interplay of visually powerful objects in authoritative institutions with the power of visitors to draw upon the knowledge, values and ideals of their own life experience and use the displays as a resource to make and take ownership of meaning. The model shows that the key factors affecting how people make meaning of displays are transaction, ritual, identity and power. I investigate the museum experience through the varied roles visitors adopt, as revealed in written comments made by visitors to my case study museum. I analyse these through a wide range of theory and through using drama as a metaphor for the visitor experience. The museum arranges the objects and spaces in a symbolic performance, leading visitors to engage in aesthetic and social rituals. Through the frames of their interpretive communities, visitors engage intellectually, emotionally and aesthetically in transactions with the objects which modify or reinforce their identities. Visitors' meaning-making is influenced, but not wholly determined, by how well the museum drama works for them. This depends largely not just on the quality of the museum but on how comfortable and familiar visitors are with museum rituals. At its best, the museum drama can engage visitors' emotions and imagination and enable them to experience intellectual, psychological, emotional and perhaps spiritual growth. At its worst, visitors' negative experiences alienate them not just from the museum but from trying such experiences again in the future. In my model, authority, power and the task of creating knowledge are shared between visitors and curators. If the museum embraces this epistemological shift, and recognises the complex transactions of ritua', drama and power, it could enable visitors to experience not just learning but growth, and greatly increase the educational and cultural value of museums.
28
Morse, Nuala Marie. "Museums and community engagement : the politics of practice within museum organisations." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/10846/.
Full textAbstract:
Community engagement (CE) is a key focus of UK museum policy and practice, increasingly used as a strategy to democratise museums and position them as social agents. However, the practices of CE have not evolved far beyond what I call the ‘contributory museum’, which focuses on how communities can benefit the museum. In this thesis I propose the distributed museum as an alternative contribution to museological theory and practice, and call for a conceptual and practical reconfiguration that focuses on how museums can benefit communities. This concept arises from a deep investigation of the politics of CE practice at Tyne and Wear Archives and Museums. The research takes a unique organisational perspective, focusing on museum professionals’ perspectives to examine how CE is constructed and managed across the museum’s different departments, and highlighting varying practices, competing meanings and discourses, and the operational and cultural barriers to this work. Using a novel collaborative-ethnographic methodology, the research examines how the museum’s Outreach Team negotiates institutional barriers, and how their practices have evolved towards more collaborative ways of working with community organisations and localities. Arising from this close examination of practice, the thesis finds evidence for the distributed museum in some elements of current Outreach practice, but it is yet to be realised across the whole museum institution. It suggests that two distinctive practices make the distributed museum: care and craft. These practices are analysed drawing on the geographies of care literatures, and actor-network and assemblages theories. Critically, this thesis presents a politics of practice that works from within the logics of the museum and therefore attends to the competing demands that are currently placed on museums. I argue that if CE is reconfigured in these ways – as a practice of care and as craft – then community engagement will enable a new basis for collaborative practice with communities. The thesis ends with implications for museum policy and practice, and further research.
29
Tällgård, Nelly. "Museums användning av digitala verktyg : En komparativ undersökning av tre museum." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169425.
Full textAbstract:
Genom en deltagande observation undersöks hur tre museum använder digitala verktyg i sitt publika arbete i museet genom appar och på deras hemsida. En kombination av Duncan F. Camerons och Shannon och Weavers modeller för kommunikation används för att undersöka de olika stegen i processen. Kommunikationen undersöks med fokus på hur museet vill nå fram till besökaren.
30
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.
Full text
31
Zanete, Rafaela Rasseli. "Uma análise da construção do Museu de Arte do Espírito Santo e de seus reflexos." reponame:Repositório Institucional do FGV, 2011. http://hdl.handle.net/10438/9310.
Full textAbstract:
Submitted by Marcia Bacha (marcia.bacha@fgv.br) on 2012-02-24T18:21:00Z
No. of bitstreams: 1
CPDOC2011 RafaelaZanete.pdf: 735269 bytes, checksum: b8287ec90217c4456efe291a237dbd4b (MD5)Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2012-02-24T18:21:27Z (GMT) No. of bitstreams: 1 CPDOC2011 RafaelaZanete.pdf: 735269 bytes, checksum: b8287ec90217c4456efe291a237dbd4b (MD5)
Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2012-02-24T18:21:40Z (GMT) No. of bitstreams: 1 CPDOC2011 RafaelaZanete.pdf: 735269 bytes, checksum: b8287ec90217c4456efe291a237dbd4b (MD5)
Made available in DSpace on 2012-02-24T18:21:55Z (GMT). No. of bitstreams: 1 CPDOC2011 RafaelaZanete.pdf: 735269 bytes, checksum: b8287ec90217c4456efe291a237dbd4b (MD5) Previous issue date: 2011
Esta pesquisa apresenta alguns dados do processo de construção do Museu de Arte do Espírito Santo- MAES até a sua inauguração e uma análise atual, refletindo sobre o papel do poder público através do estudo de matérias de jornais e entrevistas com alguns atores participantes do processo de discussão e instalação do MAES, e o posicionamento adotado pelo governo ao longo deste período, bem como o da classe artística e da sociedade em geral. Pretendeu-se reconhecer os atores participantes de todo esse processo recorrendo a documentos que explicitassem as relações que existiram nesse período entre os poderes públicos, os interesses da classe artística e da coletividade que fez e faz uso da Instituição. Ao final, mostra-se como esses discursos influenciam o museu até os dias de hoje. Para tal, inscrevemos nossa discussão sobre o MAES no âmbito de uma reflexão mais geral sobre os museus na atualidade.
This research presents some data of the construction of the Art Museum of the Holy Spirit-MAES until his inauguration and a current analysis, reflecting on the role of government through the study of newspaper reports and interviews with some actors of the process discussion and installation of MAES and the positions taken by the government over this period as well as the artistic class and society in general. It was intended to recognize the actors participating in this process using documents that spell out the relationships that existed in that period between the government, the interests of the artistic community and the community that made and makes use of the institution. In the end, it is shown how these discourses influence the museum until the present day. To do so, signed up our discussion of the MAES under a more general reflection on the museum today.
32
Gore, James Michael. "Representations of history and nation in museums in Australia and Aotearoa New Zealand : the National Museum of Australia and the Museum of New Zealand, Te Papa Tongarewa /." [Australia] : J. Gore, 2002. http://eprints.unimelb.edu.au/archive/00000320.
Full text
33
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/.
Full textAbstract:
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.
34
Iannaggi, Corina M. "Exploring Visitors’ Lived Experiences in Memorial Museums." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1448829436.
Full text
35
Taher, Hassan. "Digitalisation at Museums." Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20640.
Full textAbstract:
With digital presence becoming an increasingly big part of museums, more resources have been put on digital interactions. This thesis studies how Malmö Museums can enforce their digital strategy by taking advantage of the Norwegian method – Tingens Metod (Method of Things), and by renewing their digital presence. Because of the COVID-19 crisis and the technological advancements of the past decade, museums are using digital technologies more than ever before to reach their visitors. By using Tingens Metod, we have been able to show how collaborative digital workshops with different participating groups can open the museum process to be an open dialogue between museum creators and the museum’s visitors. The workshops have led to a democratisation of artefacts, and a new-found appreciation for the conservation that occurs at museums. These workshops have also shown that participants would like to use digital tools and interactions in their exploration of a museum’s wide collection of artefacts.The results of this thesis project have led to the creation of a two-part prototype. First, the Tingens Metod workshops are adapted to become a recurring playtest programme at the museum. Second, an overall renewed digital presence which reimagines the museum’s digital presence in a modern and reimagined way should be available on platforms that visitors are using. Together these two parts form a proposed prototype which can be adapted by Malmö Museums in their continued effort to reach their long-term digital strategy goals.
36
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/.
Full textAbstract:
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.
37
Major, Dominique. "Field collecting and museums exhibiting : the political implications of representation in museum." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31837.
Full textAbstract:
This thesis consists of an exhibit on Indonesian shadow play figures called wayang kulit presented at the University of British Columbia's Museum of Anthropology (MOA) in May 1991, and a written document which discusses the processes and political issues involved in exhibiting and collecting wayang kulit in Indonesia during the summers of 1989 and 1990.
Wayang kulit are flat, cut-out parchment figures, finely painted and perforated, used to cast shadows on a screen during a night-long performance also called wayang kulit. Some figures, made by well-known Indonesian artists, are also isolated from the context of the performance and appreciated in their own right for their formal qualities.
Establishing criteria for selecting and exhibiting the figures and determining an appropriate terminology were the core issues addressed during the processes of field collecting and museum exhibiting. The necessity of addressing these issues arose from the realization that there are political implications, in each of these aspects, for the representation of the cultures with which museum objects are associated.
The quasi-exclusive presentation, in the European and American literature on the wayang kulit, of the royal court style, has generated detrimental stereotypes concerning Indonesia. This singular portrayal has denied the existence of contemporary varieties of wayang kulit production and has contributed to projecting this art form into the past. To counterract this situation, this thesis investigates the variations in wayang as understood from the artists's point of view, which has not been adequately explored in academic research. Discussions with well-known and recognized wayang artists revealed that wayang vary according to islands, according to cities in
Java, and also according to the artists' preferences, ranging from classical to experimental. This thesis provides examples of these variations and stresses, for instance, that, while rooted in an ancient heritage, wayang can also express the actuality of contemporary life; the tensions between conservative and progressive views, collective and personal identities; religious and secular values; popular and elitist concerns; humorous and serious expressions; and Indonesian and Western influences. These contrasted views aimed at showing the multiplex nature of wayang kulit and therefore of the Indonesian cultures with which it is associated.
The way the objects are presented in museums also has an impact on their signification. The intention of pluralizing the contexts in which the wayang kulit are displayed was to blur such single and detrimental labelling as "craft" or "traditional art". Rather, this thesis conveys the idea that contemporary wayang kulit can be appreciated as art at the same time that they may be functional. Presenting wayang kulit as art is necessary if the continuing marginalization of Indonesian art within the larger world of contemporary art is to be avoided. On the other hand, in order to establish a bridge between Indonesian and other cultures, it is also essential to provide an understanding of the context in which wayang takes place, including the context and meaning of the performance, the rationale underlying its iconography, the values and world views wayang kulit synthesizes and the range of characters and stories it utilizes.
To create a reciprocal relation, the power of the words used in evoking the lived and thought experiences of non-Western societies could not be neglected. This thesis presents a reflection on the choice of the terminology which aimed at providing a dignified status to wayang.
This thesis explores, therefore, means of challenging hierarchical relations between cultures and promotes the use of images and metaphors that museum visitors can relate to as well as the members of the original culture in order to promote the ideal of cross-cultural dialogue.Arts, Faculty of
Anthropology, Department of
Graduate
38
Embola, Oscar Kalu. "Contemporary museum practice in England and its potential applications for Cameroon museums." Thesis, University of Southampton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443041.
Full text
39
Baker, Abigail. "Ancient narratives in the modern museum : interpreting classical archaeology in British museums." Thesis, Birkbeck (University of London), 2015. http://bbktheses.da.ulcc.ac.uk/130/.
Full textAbstract:
This thesis considers how the stories preserved in Greek and Roman texts have been used in British museums from the early nineteenth century to the present. It explores the tendency to prioritise textual over visual information which is easy to overlook when dealing with object-based institutions. It demonstrates the pervasive effect that ancient texts and the narratives they convey have had on the way museums think about individual objects, wider history and their own role as public institutions. A series of case studies offer snapshots of the relationship between object and text at different times and places: how ancient texts were used to articulate a political and public role for the Elgin marbles; how public and academic interest in myth inspired innovative museum interpretation in the work of Charles Newton, Jane Harrison, Heinrich Schliemann and Arthur Evans; how collecting at the Fitzwilliam museum demonstrates the difficulties of escaping ancient narratives, even for those committed to object-based approaches; and how an exhibition of Greek Art in World War Two used ancient images and texts alongside each other in ways that idealised Greek art and freedom, while also revealing unease about the relationship between image and text in ancient sources. By looking at these through broader intellectual and social themes it develops a history with continuity as well as contrasts. Several of the case studies visit completely new ground for the history of museums, but even the most familiar moments in collecting history can be understood in new ways through an awareness of how deeply our understanding of ancient objects has been shaped by ancient narratives. I build on contemporary interest in the active role of museums in constituting our understanding of the past by treating the museum as a site of textual reception and an active participant in a tradition.
40
Hans, Rosalie. "Museums in the making : emerging modalities in East African independent museums." Thesis, University of East Anglia, 2018. https://ueaeprints.uea.ac.uk/69192/.
Full textAbstract:
This research focuses on emerging independent museums in Kenya and Uganda, established since the 2000s, and the particular ways in which they are conceptualised in their east African context. It considers how museum-makers adapt and re-interpret the idea of a museum, reconfiguring the museum as a continuous process of translation that is fluid and changeable. While incorporating characteristics of ‘museumness’, such as the museum as knowledge repository, as a social technology and as a political entity, the independent museums are made up of several modalities at any point in time. They function as more than physical spaces and collections of material culture through the involvement of communities, the emphasis on larger cultural narratives and the utilisation of the museum as a vehicle for ethnic identity and visibility. The thesis further investigates the ways in which east African independent museums are shaped by their relationships with national and international heritage actors. These larger networks of NGOs, national authorities and global organisations, such as ICOM and UNESCO, influence the on-going translation of the museum concept through the dissemination of a pervasive heritage and development discourse. Local to global interactions take place in the inverted ‘zone of contact’, where independent museums, located in the periphery, engage with international organisations in the centre, impacting upon thinking on museum development, standards and professionalism. As part of these negotiations, museum-makers conceive of their independent museums as nexuses of a rich cultural past and a prosperous future as well as potential instruments for social, economic and political recognition in the present.
41
Silva, Jhonathan Junior da. "Museus e centros de ciência da região sudeste e educação formal : concepções de colaboração /." Bauru, 2017. http://hdl.handle.net/11449/151252.
Full textAbstract:
Orientador: Isabel Cristina de Castro MonteiroBanca: Odete Pacubi Baierl Teixeira
Banca: Emerson Izidoro dos Santos
Resumo: A presente pesquisa buscou investigar as formas de concepção entre a possibilidade de articulação de museus e centros de ciência com os espaços de educação formal, mais precisamente a escola. Para isso, fez-se um levantamento junto ao guia "Centros e Museus de Ciência do Brasil - 2015" no qual foi feito uma seleção dentro da região sudeste de todos as instituições que se intitulavam como sendo um museu ou centro de ciência. Posteriormente, foi enviado eletronicamente um questionário com o objetivo de caracterizar essas instituições de acordo com algumas temáticas relacionadas aos museus e centros de ciência, tais como os tipos de atividades realizadas pela instituição, os principais objetivos, o perfil dos sujeitos que conduzem as atividades da instituição, o contingente de sujeitos que auxiliam nas atividades, se a instituição oferece cursos de formação para esses sujeitos e se existem atividades colaborativas entre o museu e a escola. Após a devolutiva do questionário por parte das instituições, foi feito um estudo de caso com duas instituições que atenderam aos critérios estabelecidos pelos pesquisadores. Uma entrevista semiestruturada foi realizada com um representante da coordenação e dois mediadores, um mais experiente e um menos experiente. Para a análise das entrevistas, foi utilizada a Análise de Discurso de linha francesa e os objetivos das análises eram de encontrar no discurso de coordenadores e mediadores uma concepção de colaboração entre os esp... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The present sought to investigate the forms of conception between the possibility of articulation of museums and science centers with the spaces of formal education, more precisely the school. For that, a survey was made the guide "Centros e Museus de Ciência do Brasil - 2015" in which a selection was made within the southeast region of all the institution that were titled as museum or science center. Subsequently, a questionnaire was sent electronically with the purpose of characterizing these institutions according to some themes related to museums and science centers, such as the types of activities carried out by the institution, the main objectives, the profile of the subjects that help in the activities, if the institutions offers training courses for these subjects and if there are collaborative activities between the museum and the school. After the questionnaire was returned by the institutions, a case study was done with two institutions that met the criteria established by the researchers. A semi-structured interview was carried out with a representative of the coordination and two mediators, one experienced and one less experienced. For the analysis of the interviews, French Speaking Discourse Analysis was used and the objectives of the analyzes were to find in the discourse of coordinators and mediatiors a conception of collaboration between the spaces of formal education and the museums and centers of science. From the analysis it was observed that the institutions have different conceptions regarding the processes of collaboration between museums and school. The data, besides allowing to find these two conceptions, provided important elements for the characterization of the museums and science centers of the southeast region
Mestre
42
McCarthy, Meredith. ""It's Always Ourselves We Find in the Sea" maritime museums and education at Independence Seaport Museum /." Diss., Connect to the thesis, 2004. http://thesis.haverford.edu/70/01/2004McCarthyM.pdf.
Full text
43
Butler, Melissa. "A study of visitation at living history farms and agricultural museums." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 130 p, 2006. http://proquest.umi.com/pqdweb?did=1203585101&sid=3&Fmt=2&clientId=8331&RQT=309&VName=PQD.
Full text
44
Tanner, Alison. "Developing a strategic plan for the National Cowgirl Museum and Hall of Fame education program." Fort Worth, Tex. : Texas Christian University, 2006. http://etd.tcu.edu/etdfiles/available/etd-12152006-142449/unrestricted/tanner.pdf.
Full text
45
Yount, Katherine. "A Collaborative Affair: The Building of Museum and School Partnerships." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30532/.
Full textAbstract:
This study examined two art museum and school partnerships in order to learn how partnerships enable an integration of goals, participants' beliefs and values, and learning objectives. This study examined the partnerships through a social constructivist lens and used narrative analysis as way to interpret participants' stories about collaboration. The research found three major themes among participants' stories. Participants: a) valued good communication to establish relationships between partners, b) believed partnership offered students experiences that educated the whole person, and c) felt that students making meaning by interacting in the museum environment was an indicator of success. The study closes with discussion of the researchers' own constructions as they developed throughout the study.
46
Mutch, Hollis Hafertepe Kenneth. "Institutional critique artists focus on museological issues /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5285.
Full text
47
Mathers, Kathryn. "Leisure-learning : revitalising the role of museums : a survey of Cape Town parents' attitudes towards museums." Master's thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/20140.
Full textAbstract:
Bibliography: pages 78-84.The aim of this project was to assess the image of museums in Cape Town society in the context of the changing needs of South African people. A questionnaire examining museum-visiting habits and perceptions of the role of museums was distributed to parents via nine schools in Cape Town. Each school represented a different socioeconomic package so that the sample included parents with varying educational status and incomes. Parents of school-going children were sampled because they may be predisposed towards museums as institutions that offer their children educational and recreational opportunities and, therefore, represent a best-case scenario. The majority of the sample had visited a museum. A relationship exists between museum-visiting and higher socioeconomic status. Museum- visiting, though, was not limited to people with a higher level of education. Parents who were actively involved in a broad range of leisure activities were most likely to have visited museums. Although socioeconomic status and participation in leisure activities are related, museum-visitors appear to have leisure-lifestyles and not level of education in common. The results showed a contradiction in parents' attitudes towards museums; the image of museums was good but the image of the museum experience was often bad. This was particularly the case for infrequent museum-visitors. This group also experienced a feeling that 'museums are for a different type of person', which may explain why they do not visit despite believing that museums are worthwhile institutions. Museums appear to be perceived as institutions that offer children opportunities for learning and recreation. This could be the reason why young adults or seniors do not participate in museum programmes. This survey also showed that museums were associated with research on and preservation of the past. Black parents, though, were least likely to make this association and it is possible that the emphasis of most museums on the post-colonial past of South Africa is one reason why Black South Africans do not visit museums. There does, though, exist a generally positive image of the role of museums. The emphasis placed on leisure-learning or semi-leisure by young and old people in the townships does indicate that museums could meet an important need for constructive leisure opportunities.
48
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.
Full text
49
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.
Full textAbstract:
Submitted by Caroline Falcao (caroline.rfalcao@ufpe.br) on 2017-06-14T19:09:00Z
No. of bitstreams: 2
license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5)
2012-dissertacao-NeilaPontes.pdf: 1915279 bytes, checksum: 75effb06324a79c7509cea55921be569 (MD5)Made available in DSpace on 2017-06-14T19:09:00Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) 2012-dissertacao-NeilaPontes.pdf: 1915279 bytes, checksum: 75effb06324a79c7509cea55921be569 (MD5) Previous issue date: 2012
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.
50
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/.
Full textAbstract:
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