Dissertations / Theses on the topic 'Social history Museums'
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1
Smith, Charlotte H. F. "The house enshrined : great man and social history house museums in the United States and Australia /." Online version, 2002. http://bibpurl.oclc.org/web/24545.
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Clouse, Abigail Elizabeth. "The Social History of a National Collection: Anthropology, Repatriation and the Politics of Identity." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/195523.
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In this dissertation I analyze the social history of an anthropological collection at the Smithsonian Institution. Combining archival and historical research with interviews, I trace the Army Medical Museum (AMM) collection from its origin in the mid-nineteenth century to the present. The Smithsonian's AMM collection is the product of mid- to late-nineteenth century government science. Assembled in the midst of westward expansion and colonization, this collection is the result of numerous government-sanctioned collecting efforts. Accordingly, the objects and human remains that comprise this collection were taken from scores of Native American tribes from all parts of the United States. Amassed during some of the darkest moments in the history of the United States - marked by warfare, death and the displacement of countless Native Americans - the AMM collection represents the Smithsonian's earliest collecting efforts. The social history of this collection spans from the earliest days of the SI to the present, marked by concerns regarding cultural property rights. And what the present moment demonstrates is the continued relevance of this colonial past, especially in the context of repatriation. I analyze critical contemporary issues of repatriation in terms of the historical legacy of collecting in the U.S. and demonstrate the role that collections play in negotiating identities. For that purpose, I begin with the supposition that objects shape as well as materialize identity, and that disciplines define themselves by virtue of what they collect. I examine recent shifts in what is deemed ethically appropriate for collection and how this affects the various ways museum anthropologists define the discipline. Ultimately, this dissertation advances a critical historical analysis of the AMM collection, providing a more dynamic understanding of the role that repatriation plays in redefining the roles of anthropologists within museums.
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Heider, Cynthia. "Sympathy and Science: Social Settlements and Museums Forging the Future through a Usable Past." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/512948.
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HistoryM.A.
Affiliates of the United States settlement house movement provided a historical precedent for engaged, community-centered museum practice. Their innovations upon the social survey, a key sociological data collection and data visualization tool, as well as their efforts to interpret results via innovative, culturally democratic exhibition techniques, had a contemporary impact on both museum practice and the history of social work. This impact resonates in the socially-responsive work of community museums of the recent past. The ethics of settlement methodology- including flexibility, experimentalism, empathetic practice, local community focus, and social justice activism- foreshadow the precepts and practices of what is now known as public history.
Temple University--Theses
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Smith, Charlotte H. F., and n/a. "The house enshrined: the great man and social history house museums in the United States and Australia." University of Canberra. Resource, Environment & Heritage Sciences, 2002. http://erl.canberra.edu.au./public/adt-AUC20050701.140057.
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This thesis is a study of the origins and rationale of two categories of house
museum - here named "Great Man" and "Social History" - in the United States
and Australia. An examination of cultural, social and historical change provides
the context for the genres' evolution.
The Great Man genre was born in mid nineteenth-century America when two
houses associated with George Washington - Hasbrouck House and Mount
Vernon - were preserved and translated to museum status. Mount Vernon quickly
became the exemplar for house museums.
Civil religion, a secular nationalism that adopted the forms and rituals of church
religion, focusing on hero worship, pilgrimage and contemplation of transcendent
collective purpose, provided the ideology that sustained the new museum type.
Great Man house museums became the shrines at which such rituals could be
practiced.
In the early twentieth-century the specialization of heritage organizations
encouraged a new breed of heritage professional. Largely fabric focused, these
"new museum men" influenced philosophy, management and conservation
practice at house museums throughout the century.
Social history made its impact upon house museums in the latter decades of the
twentieth century. The paradigm encouraged the creation of a new category of
house museum. Existing Great Man house museums adopted some of its
characteristics though never lost their hero worship foundations. In fact, I posit
that the idea of hero worship was transferred to the new genre.
The birth and evolution of the two categories of house museum is demonstrated
through four biographical studies: Vaucluse House in Sydney; Monticello in
Charlottesville VA; the Lower East Side Tenement Museum in New York City;
and Susannah Place Museum in Sydney. I believe the findings demonstrate an
argument that applies at hundreds of house museums in the United States and
Australia.
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Henderson, Ashley S. Hafertepe Kenneth C. ""The ace of clubs" a social and architectural history of the Draughon-Moore House, Texarkana, Texas, 1885-1985 /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5246.
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Liu, Ariel. "The relationship between engagement and learning in school students' interactions with technology-driven multimodal exhibits in museums." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:5c8405d5-a834-4b0f-b160-56c988f452f8.
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This thesis reports a qualitative study of the use of multimodal technologies in museums— specifically, it examines the relationship between visitor engagement and learning, focusing on the use of multimodal technologies during school trips. The study was conducted in the Natural History Museum and the Churchill Museum, both in London, with participants from several secondary schools. These sites were chosen due to their concern for the added value of learning and public engagement, including their education-orientated investments in technology, museum activities, and architecture. In the course of data collection, visits were made to six schools and both museum sites; the participants included 117 students, 18 teachers, three museum educators, and eight museum curators and media designers. The study used a combination of video data analysis, stimulated recall interviews, document analysis, and engaging students in talk and reflection about their visit both at the museum and afterwards. The qualitative approach and multimodal analysis identify how the students’ social interactions help them construct learning through decontextualised bodily movements, which trigger contextualised discussion. The study demonstrates how multimodal analysis can be used in research to capture a wide scope of information, while maintaining a micro-level of analysis and understanding—here, capturing the detail of students’ interactions and perceptions. The findings suggest that the learning experience in museums is produced through multiple layers of interaction and through the exchange of physical and psychological behaviour among people, resources, and space. Here, the multimodal technologies with which the students engaged essentially acted as initial platforms for sensory stimuli and social interaction, supporting their peer communication and motivating them to further explore both the given topic and their own understanding of their learning methods. It was the students’ further conversation, observation, and participation, however, that created a more meaningful and entertaining learning experience in the museums.
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Silva, Sabrina Damasceno. "Curadoria em museus de história natural: processos disruptivos na comunicação da informação em exposições museológicas de longa duração." Universidade Federal do Rio de Janeiro / Insitituto Brasileiro de Informação em Ciência e Tecnologia, 2015. http://ridi.ibict.br/handle/123456789/786.
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Abordagem às singularidades curatoriais nos museus de história natural, a partir da consideração de que o conceito de curadoria possui significados variáveis em diferentes áreas do conhecimento e espaços de preservação da memória. Há, contudo, um ponto de convergência, especificamente nas instituições museológicas, que se encontraria presente em meio a essa diversidade: uma figura decisória (o especialista), possuidora de expertise. Os espaços museológicos de história natural possuem sua origem nos denominados “gabinetes de curiosidades” relacionados à tradição enciclopedista que delineou uma de suas principais singularidades: a busca por uma representação da totalidade por meio de sua materialidade. Uma das especificidades dos museus de história natural repousa no papel essencial de ensejar a compreensão das “formações discursivas” advindas de interpretações da ciência moderna acerca da natureza e dos artefatos oriundos dos diversos grupos sociais humanos através do tempo. A curadoria no interior dos museus de história natural determina a formação, gestão e comunicação pública da ciência por meio das evidências materiais do mundo sensível. Considera-se como aporte teórico desta tese que os processos curatoriais podem ser entendidos à luz das conceituações foucaultianas acerca do “dispositivo”, percebido como uma rede de relações que podem ser estabelecidas entre elementos heterogêneos: discursos, instituições, arquitetura, regimentos, leis, medidas administrativas, enunciados científicos, proposições filosóficas, morais, filantrópicas, o dito e o não dito. Perspectiva que permite a reflexão acerca dos fluxos informacionais presentes no cotidiano desses museus de história natural.
The present study discusses the curatorial singularities in natural history museums. We consider the concept of curatorship has heterogenic meanings in different areas of knowledge and space of memory preservation. There is, although, a point of convergence in this diversity: a decision-making specialist, a researcher owner of expertise. The museolgical spaces of natural history was originated in the denominated “cabinets of curiosities” related to an encyclopedic tradition that delineate one of the main singularities of natural history museums: the search for a totality representation through its materiality. One of the specificities of the museological spaces of natural history lies on the essential paper to provide the comprehension of “discursive formations” that becomes of modern science interpretation about nature and artefacts from different social human groups through time. The curatorship in natural history museums determinates the development, management and science public communication. Our propose is consider the curatorial processes in view of concepts of Michel Foucault, specially the “dispositive”, that is structured for a heterogenic ensemble of discourses, institutions, architecture forms, laws administrative measure, scientific enunciations, moral and philanthropic proposition, what is sad and the unsaid. That perspective allows reflection about informational flow that integrates part of daily of these museums of natural history.
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Considine, Marie. "The social, political and economic determinants of a modern portrait artist, Bernard Fleetwood-Walker (1893-1965)." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3639/.
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As the first major study of the portrait artist Bernard Fleetwood-Walker (1893-1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant-garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits. Emerging, and soon dominant, tabloid newspapers shaped content and language to attract readers, influencing the articulation of the reception of the artist’s work. This thesis also makes a contribution to the regional perspective, demonstrating the temporary co-existence of multiple, heterogeneous, modern art worlds. Throughout the thesis the relevance of economic factors is emphasised, reappraising the Marxist theory of modern art and concluding that a more complex economic description is required to provide a sensitive and insightful analysis of art history.
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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.
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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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Barretto, Margarita 1952. "Museus por teimosia : uma analise da utilidade social dos Museus de Campinas." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252154.
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Orientador : Olga Rodrigues Moraes von SimsonDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Urizar, Olate Gabriela. "Museo Nacional. Construir, Representar, Educar y Divulgar las Ciencias Naturales en Chile (1813 - 1929)." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/666307.
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Desde comienzos del siglo XIX, como eje fundamental para la construcción de la nación, el Estado chileno impulsó una serie de políticas educativas intelectualizadas y ejecutadas desde la elite dirigente con el fin de autoafirmar el Estado en el plano político y construir un ideal de nación unificada bajo aspectos como el territorio, la población, los recursos naturales, la historia y las costumbres. Entre las entidades estatales que dieron sustento físico a este ideario, se encontraban los museos nacionales.
La primera institución museal de Chile, el Museo Nacional, comprende el objeto de estudio de esta investigación, siendo su objetivo principal el entender cómo se proyectó y desarrolló esta institución como parte de una política de Estado, y su relación con la construcción de una cultura científica y la representación de una identidad nacional. Se estudia este proceso en un periodo temporal que se extiende entre 1813 y 1929.
En una introducción de carácter teórico se reflexiona sobre el porqué de la creación de un museo nacional en el contexto de construcción de los Estados-nación latinoamericanos, particularmente el chileno, y sobre cómo el Museo Nacional de Chile se inserta dentro del proceso de construcción de la nación y la conformación de identidad, así como los museos nacionales orientados al estudio de las ciencias naturales, particularmente en Chile y Latinoamérica, intervienen en la construcción de una cultura científica.
El primer capítulo propone una periodificación general del Museo Nacional, sintetizándose para cada momento los objetivos y políticas de administración de la institución, los espacios físicos utilizados y el personal que formó su plantilla. Además se analiza el grado de relación de la institución con el Estado, la intervención gubernamental en la organización del museo y su integración como parte de un proyecto educativo impulsado como soporte para la enseñanza de las ciencias naturales.
El segundo capítulo aborda las actividades de exploración del territorio y el conocimiento del medio natural de la República fomentadas desde el Museo Nacional, como respuesta a los intereses territoriales estatales y para alcanzar objetivos de coleccionismo y científicos. Se analiza el papel que jugó el Museo a medida que eran anexadas nuevas áreas, tanto en el conocimiento de la flora y la fauna como en la búsqueda de materias primas de importancia para el desarrollo industrial y comercial de Chile, y cómo la institución definió las características del territorio chileno y la zonificación de los espacios naturales, permitiendo configurar una imagen de prosperidad y desarrollo de cara al exterior.
En el tercer capítulo se abordan las políticas de formación de colecciones de ciencias naturales y los cambios y diferencias de énfasis observados en los materiales y su proveniencia. Las colecciones se analizaron considerando los paradigmas científicos del siglo XIX y comienzos del XX, y como ello orientó la organización interna de la institución, sus secciones y la exhibición. A su vez se analiza el papel del Museo Nacional en la definición de una identidad nacional basada en características naturales, y la definición de especies autóctonas en la demarcación del territorio chileno en contraposición a los países vecinos. Además, se aborda la
relación del Museo Nacional con la construcción de una cultura científica
que colaboró en que el país se posicionase en el panorama científico internacional.
El capítulo cuatro se centra en las políticas de formación de colecciones de carácter histórico, etnográfico y arqueológico, describiendo sus características y formas de exhibición. Se analiza su uso en la construcción de una identidad nacional a partir de la exaltación de símbolos patrios, de marcar la diferencia entre lo nacional y lo extranjero, y de cómo se entendía el mundo indígena dentro del Estado-nación. Además, se analiza el papel de este tipo de colecciones en relación al desarrollo de la historia y las ciencias antropológicas y arqueológicas en Chile.
El quinto capítulo busca entender cómo el Museo Nacional se relaciona con su entorno -público general, instituciones educativas y museales, colonias de extranjeros- y cómo este conforma una red de soporte para la institución al momento de formar colecciones y desde el punto de vista político-administrativo. Además, se reflexiona sobre la apertura del museo a nivel internacional y su relación con otras instituciones equivalentes y diversas personalidades del mundo de las ciencias.
Finalmente se entregan conclusiones finales que retoman todas las ideas vertidas en los capítulos anteriores y se vuelven a revisar objetivos e hipótesis entregando un panorama general del desarrollo del Museo Nacional en el período estudiado.Since the beginning of 19th century, as a fundamental axis for the construction of the nation, the State of Chile promoted a series of educational policies, intellectualized and executed by the ruling elite, in order to assert the State on a political level and build the ideal of a unified nation, under aspects as history and customs. The national museums were among the entities that gave physical support to this ideology. The first museum institution in Chile, The National Museum, conforms the aim of study of this research. Its main objective is to understand how this institution was projected and developed as part of a State policy, and its relation with the construction of a scientific culture and the representation of a national identity. This process is studied in a temporal period that extends between 1813 and 1929. Through its chapters the study defines the different moments of development of The National Museum, its objectives and administrative and museographic characteristics, describing continuities and changes. At the same time, its study how the relation of the National Museum with the State is outlined, to what extent the governmental apparatus intervened in the development of the institution and the objectives that were established in time. The research also recognise who intervened in the definition and execution of the museographic-educational project developed by the National Museum, both at managerial and executive level. It describes the objects included in the collections, highlighting differences and permanence over time, how they were arranged in the exhibitions, and the internal variations of the script or theme that was wanted to be stand out in relation to the representation of the nation and the construction of a collective identity. Likewise, the study recognizes the collections provenance, with an accent on the formation of support networks, distinguishing scientific figures and institutions involved both nationally and internationally. Finally, conclusions are delivered taking up all the ideas expressed in the previous chapters and it turns to revisit objectives and hypotheses, giving a general and compelling overview of the development of the National Museum in the studied period.
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Ivanov, Gunnela. "Vackrare vardagsvara – design för alla? : Gregor Paulsson och Svenska Slöjdföreningen 1915–1925." Doctoral thesis, Umeå University, Historical Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-275.
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This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).
Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.
Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.
Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.
Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.
Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.
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Julius, Chrischené. "Oral history in the exhibitionary strategy of the District Six Museum, Cape Town." Thesis, University of the Western Cape, 2007. http://hdl.handle.net/11394/2864.
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Masters of ArtsDistrict Six was a community that was forcibly removed from the centre of Cape Town after its demarcation as a white group area in 1966. In 1989, the District Six Museum Foundation was established in order to form a project that worked with the memory of District Six. Out of these origins, the District Six Museum emerged and was officially opened in 1994 with the Streets: Retracing District Six exhibition. The origin moments of the museum in the 1980s occurred at the same moment that the social history movement assumed prominence within a progressive South African historiography. With the success of Streets, the decision to ‘dig deeper’ into the social history of District Six culminated in the opening of the exhibition, Digging Deeper, in a renovated museum space in 2000. Oral history practice, as means of bringing to light the hidden and erased histories of the area, was embraced by the museum as an empowering methodology which would facilitate memory work around District Six. In tracing the evolution of an oral history practice in the museum, this study aims to understand how the poetics involved in the practices of representation and display impacted on the oral histories that were displayed in Digging Deeper. It also considers how the engagement with the archaeological discipline, during the curation of the Horstley Street display as part of Streets, impacted on how oral histories were displayed in the museum.
South Africa
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de, Lannoy Jean. "Through the vale of darkness : history in South Malakula, Vanuatu." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:57eb5894-fe4c-440a-843f-fe195d4239d0.
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The thesis is a multi-vocal and localized history of the destruction of ancient Malakulan society through depopulation, migration and conversion, of the salvation of some people who gathered around Christian communities, and of the relationship of these people and their descendants to the places they have left and to the communities in which they now live. The thesis brings a historical perspective to Vanuatu anthropology. Compared to earlier work in anthropological history in the Pacific by Sahlins, Dening and Bronwen Douglas, the main innovation in method is that all historical statements are set in their context, emphasizing the multiplicity of view points and revealing the significance of even minor variations which refer to important local issues, from land disputes to conversion to Christianity. Innovative use is made of funerary inscriptions, local maps and court archives, reflecting local forms of historical literacy. The research is part of a growing interest in Christianity in Oceania, after a long neglect by anthropologists. This is the first historical anthropology of Vanuatu and perhaps Melanesia to consider the long-term social impact of the dramatic depopulation that accompanied the colonial expansion of Europeans. The abandonment of the interior of the island of Malakula and the weakening of traditional links with other islands have reduced the social space of Malakula to the original zone of contact with Europeans, the coastal areas and nearby small islands. I argue that Christianity allowed the people of Malakula to create a new form of sociality in response to these events. The new society has its own time and space organized around the nuclear family meal and Sunday service, which were the two cornerstones of the conversion process, symbolizing the abandonment of former ritual activities and of the segregation of cooking fires according to ritual status. This process of cultural adaptation continues with the appropriation by villagers of the historical perspective of official courts favouring material evidence and legalistic principles in land disputes. Earlier research on Vanuatu was dominated by the themes of 'kastom', a discourse on tradition opposed to Western ways, and of the rootedness of people in place. This double emphasis is linked to the fact that most fieldwork in the country was done in the 1970s before a fifteen years ban on foreign research after Independence in 1980. In the context of the struggle for Independence and the restitution of alienated land, Vanuatu people needed to emphasize indigenous values and attachment to land. Today, priorities on the ground have changed and new types of discourses have come to the fore emphasizing conversion to Christianity and adopting new concepts reflecting a shift in preoccupation from recovering colonial land to the relation between indigenous Christian migrants and original owners.
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Naile, Meghan Theresa. "Like Nixon to China: The Exhibition of Slavery in the Valentine Museum and the Museum of the Confederacy." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1972.
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This study analyzes two successful exhibitions on American slavery in the South: In Bondage and Freedom: Antebellum Black Life in Richmond, Virginia, 1790-1860 by the Valentine Museum and Before Freedom Came: African American Life in the Antebellum South by the Museum of the Confederacy. It puts the exhibitions in the context of the social history movement, and explains the difficulties exhibiting a sensitive topic. It examines the creation of the exhibitions, the controversies because of the subject, both real and potential, and the overwhelmingly positive reaction.
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Long, Shannon Rene. "PRESERVING, INTERPRETING, AND DISPLAYING MENTAL HEALTH HISTORY: ESTABLISHING THE PATTON STATE HOSPITAL MUSEUM AND ARCHIVE." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/209.
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There are few museums in the western half of the United States that provide an opportunity to educate the public about the history of mental health care. Recently, a mental health museum and archive of artifacts, photographs, and documents was established on the grounds of Patton State Hospital in Highland, California. The purpose of this paper is to reflect on the establishment of this museum and archive and to provide an account of the 125 year history of Patton State Hospital. Understanding the history of Patton provides an opportunity to understand the history of mental health care in the United States from the late 19th century to the present. The establishment of this museum and archive became a joint initiative between Patton and California State University, San Bernardino’s History Department in January 2014. The museum and archive are meant to provide an educational venue that will increase awareness of the plight of the mentally ill, decrease stigmatization of those afflicted with mental illness, and further efforts to improve the care of patients through preservation and display of the artifacts, photographs, and documents related to Patton’s history. The goal of this paper is to assist future public historians with the design and establishment of a museum and/or archive, be it related to mental health history or to projects with other themes, and to provide information to other mental health facilities that wish to establish their own museums.
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Borgström, Ulrika, and Louise Svalqvist. "Att berätta historia : En studie om museers verksamhet." Thesis, Södertörn University College, School of Life Sciences, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2770.
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The purpose of this essay is to look at how museums design their activities as tourist destinations through the dissemination of history. In order to research this problem we have posed the following questions: How do museums act in order to animate and interpret history? What does the future hold for the museums? In order to find the answers to these questions we have made a deep-going analysis of the activities of four museums, Nordiska Museet, Etnografiska Museet, Historiska Museet and Naturhistoriska Museet. These museums have been analyzed by means of interviews, observations and the study of documents. Our theoretical perspective is informed by a hermeneutic perspective as well as Foucault´s definition of museums as institutions, and the concept of storytelling. Our conclusions are as follows: Museums have progressed from an Enlightenment ideal to a more post-modern approach, which means that they want to activate the visitors and make them reflect and form their own opinion by presenting different versions of the past that will stimulate imagination. Our belief is that this trend will continue and the museums will become even more oriented towards creative tourism at the same time as they will protect their position as vehicles and creators of knowledge and guardians of the Swedish cultural heritage. Unfortunately a growing centralization of the field is working in the direction of limiting the range of offers and restricting the museums´ potential to offer different versions of the past.
Syftet med denna uppsats är att undersöka hur museer genom förmedlandet av historia formar sin verksamhet som besöksmål. För att få svar på detta har vi ställt oss följande frågor: Hur verkar museerna för att levandegöra och tolka historia? Vad har museerna för framtid? För vår undersökning har vi genomfört en djupgående analys av fyra museers verksamhet, Nordiska museet, Etnografiska museet, Historiska museet samt Naturhistoriska Riksmuseet. Dessa har analyserats genom intervjuer, observationer samt dokumentstudier. De teoretiska utgångspunkter vi använt oss av är hermeneutik, Foucaults definition av museer som institution samt storytelling. De slutsatser vi kommit fram till är följande: Museerna har utvecklats ifrån ett upplysningsideal till en mer postmodernistisk inriktning där de vill aktivera besökarna till att tänka själva. Museerna arbetar aktivt för att visa fler perspektiv i historieredovisningen och försöker på olika sätt finna nya sätt att aktivera besökarna för att ge en levande bild av det förflutna. I framtiden tror vi att museerna kommer att fortsätta denna utveckling mot att bli mer upplevelseorienterade samtidigt som de värnar om sin unicitet som kunskapsförmedlare och bevarare av vårt gemensamma svenska kulturarv. Tyvärr går utvecklingen mot en ökad centralisering vilket minskar mångfalden av museer samt ger färre möjligheter till fler tolkningar av historien.
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Karlsson, Jacob. "Flygplan och kaffekoppar : En undersökning av kulturarv, autenticitet och turism på Flygvapenmuseum." Thesis, Linköpings universitet, Institutionen för studier av samhällsutveckling och kultur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-73972.
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Turismbranschen är en bransch som förefaller vara på väg framåt. Detta är givetvis bra, framförallt ur ekonomisk synvinkel, för olika typer av besöksmål runt om i Sverige och världen. Samtidigt så hårdnar dock konkurrensen om besökarnas tid och uppmärksamhet då fler och fler aktörer kliver in på scenen. För att möta den konkurensen så har en del av de äldre besöksmålen, exempelvis museerna, börjat modernisera sin produkt för att passa den moderna besökaren. Men kan det vara så att detta sker på bekostnad av, i fallet med museer, autenticiteten hos det som presenteras? I den här uppsatsen undersöks det som presenteras på ett modernt, upprustat, museum i form av Flygvapenmuseum i Linköping. Stämmer det som presenteras på museet överens med andra källor? Hur pass anpassat efter den moderna besökaren har det blivit och har det gått ut över innehållets kvalité? Fokus i uppsatsen har lagts på tre olika objekt. Två av dessa är mer eller mindre känsliga och berör enskilda episoder av svensk 1900- talshistoria. Den ena av dessa är den svenska frivilligkårens deltagande i det finska vinterkriget och det svenska flygvapnets och statens roll i detta krig. Den andra är det svenska kärnvapenprogrammet som under mitten av 1900- talet debatterades flitigt och arbetades på i hemlighet. Den tredje delen som undersöks är de hemmiljöer som har byggts upp på museet och som representerar Sverige under fyra årtionden under det Kalla kriget. Över lag pekar resultaten på ett bra faktamässigt innehåll, även om vissa skillnader förekommer och vissa saker utelämnas. Mycket fokus hamnar dock givetvis på upplevelse och känsla, framförallt vad det gäller hemmiljöerna. Många av föremålen visar sig tidstypiska, men givetvis är det inte riktiga bevarade hem som visas upp utan representationer av hur det kunde se ut. I uppsatsen ställs även Flygvapenmuseums utställningar mot tre olika teorier om turisters syn på autenticitet. Täcker museet in kraven som besökaren kan tänkas ha på autenticitet? Eller är det som museet visar upp fullständigt icke- autentiskt? Med grund i de resultat som kommit fram i undersökningen av de tre ovan nämnda objekten analyseras utställningarna utifrån hur besökaren skulle ställa sig till dessas innehåll i enlighet med de valda teorierna. Frågan visar sig vara mångfacetterad och något entydigt svar visar sig inte. Museets utbud visar sig så pass brett så att alla de valda teorierna påvisar autenticitet i vissa aspekter, medan det saknas i andra. Sanningen ligger kanske i en kombination av de olika teorierna?
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Bernardot, Hélène. "Representing ethnography and history, interacting with heritage : analysing museological practices at the Huron-Wendat Museum." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/67005.
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Ce mémoire de maîtrise propose une réflexion sur les choix et mesures pris en termes de représentation et d'interaction dans les musées ethnographiques à partir d’une étude de cas, le Musée Huron-Wendat à Wendake, au Québec. L'objectif est d'analyser et comprendre ces pratiques muséologiques destinées à exprimer une identité autochtone locale. L’étude souhaite également démontrer comment les publics s’identifient et interagissent avec les discours culturels et politiques spécifiques du musée. Une attention particulière est accordée à l'étude du changement de paradigme muséal d'un espace d'autorité à un lieu inclusif. La mission des professionnels du musée concernant le concept de représentation sera analysée, ainsi que leur travail sur les notions d'accessibilité et de participation avec et pour le public. En se basant sur l'étude de terrain et la littérature scientifique, ce mémoire s'engage à questionner les notions prédominantes d'identité, de continuité et d'unité, dans le contexte de la nouvelle muséologie et du postcolonialisme.This master thesis is an analysis of the current specific actions on representation and interaction taken in contemporary ethnographic museums. The aim is to highlight museology pathways used to represent local Indigenous culture and to explore how the public is involved with and relates to these specific discourses on heritage. Special attention will be devoted to the study of the shift of museums from authoritative places of education to socially inclusive spaces. The mission of heritage professionals in terms of representation will be analysed, as well as their work on the notions of accessibility and involvement for and with the public. The Huron-Wendat Museum in Wendake, Québec, serves to investigate these museum practices. Drawing from thorough fieldwork and extensive secondary literature, this master thesis will further probe the prevailing notions of identity, continuity and unity of the new museology in a postcolonial context.
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Proffitt, Rebecca J. "The Old Deery Inn & Museum: An Ethnographic Case Study." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3241.
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This thesis uses qualitative ethnographic research methods to present a case study that explores the multiplicity of meanings and representations that are attached to the Old Deery Inn & Museum in Blountville, Tennessee. Within the community, the Inn functions as a center for cultural memory, with the physical structure itself acting as an artifact that holds community identity. This community narrative contrasts with the official narrative used by tourism entities that markets the Inn as a part of the Appalachian region, situating the Inn within a complex and intricately constructed identity of place that is shaped by lived experiences as well as perceived cultural markers. By unraveling the narratives, this study unpacks the ways that the Inn’s various identities figure into the development of current interpretation and management efforts, and the way that this locally important historical site fits into the larger narrative of tourism marketing in East Tennessee.
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De, Wild Karin. "Internet art and agency : the social lives of online artworks." Thesis, University of Dundee, 2019. https://discovery.dundee.ac.uk/en/studentTheses/a6a64a92-2edc-44a8-b371-de4a61bdc289.
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During the 1990s, artists started to explore the possibilities of the World Wide Web. This thesis investigates online artworks by studying their agency. Why do people interact with them, as if they are alive? How do they mobilise people, or make them share visions and ideas? Based on research in largely untapped archives, it presents an in-depth examination of several case studies, exploring the artwork's ability to have the power to act in a variety of social settings. Through studying the life trajectory of the artwork, it also offers insights in how these dynamic entities undergo changes over time and across cultures. Grounded in theoretical literature on the agency of art, this research offers an innovative way of understanding Internet art and it contributes to wider conversations about the agency of art and artefacts. Case studies include: Mouchette (Martine Neddam), 'Mouchette' (1996-present). Web project (www.mouchette.org). Collection of Stedelijk Museum (Amsterdam). Shu Lea Cheang, 'Brandon' (1998-1999). Web project (brandon.guggenheim.org). Collection of Solomon R. Guggenheim Museum (New York). Lynn Hershman Leeson, 'Agent Ruby' (1998-2002). Web project (agentruby.sfmoma.org). Collection of SFMOMA (San Francisco).
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Agronius, Rebecca, and Sundquist Dennis Börjesson. "Att träna elever i historical thinking genom museibesök." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35552.
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The primary purpose of this research overview is to look into previous research on how teachers use physical or virtual visits to museums in order to stimulate learners’ historical thinking skills. In this paper we use Peter Seixas and Tom Morton’s (2013) definition of the framework historical thinking. The paper is based on the research question: What does previous research say about how history teachers can stimulate learners in historical thinking in a physical or virtual museum environment? In order to find the research for this overview several databases were used, such as ERC, ERIC, Swepub and the search engine Libsearch. To meet the requirements there were several inclusion and exclusion criteria applied in the search for relevant articles. The researchers agree that there is potential to stimulate learner’s historical thinking skills during physical or virtual museum visits, and they also call for the need of preparation and cooperation between schools and museums. The results of this paper may be used by teachers to assess whether a trip to a museum or exploring a virtual reality museum is worth all the relevant preparations.
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Castro, Amanda E. "MENTAL HEALTH MEMORIES: A WEB-BASED ARCHIVE FOR MENTAL HEALTH STORIES." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/517.
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The Mental Health Memories project is an online archive created in order to display and preserve the personal histories of those with mental health experiences. The project aims to fill a void in available material culture related to the history of mental health and its preservation. Participants’ contributions include: oral histories, personal items, documents, and audio. Bringing together multimedia sources, the MHMemories website allows for the preservation of these items and stories through the digitization of contributions. This method allows for participants’ items to stay in their possession while also becoming part of the archive. In order to recruit participants, the Mental Health Memories project teamed up with the Psychiatric Stories Archive, based at California State University San Bernardino, and the San Bernardino County Behavioral Health Clubhouse. Three collection days facilitated the gathering of materials. The final product is the MHMemories.org/.com website which showcases the contributions of participants. The Mental Health Memories project helps to illustrate the diversity of mental health experiences.
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Nolin, Jenny. "Soffvisningar på Moderna Museet : Nya sätt att förmedla och betrakta konst i ett digitalt, interaktivt format via sociala medier." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446494.
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This essay investigates live-streamed guided tours made by Moderna Museet, so called sofa tours, streamed between February 2020 and April 2021. The aim is to observe, describe and analyze the [Moderna Museet’s] sofa tours using a modality approach as well as relating the sofa tours to physical museum visits, using the concepts of media, mediation, remediation, immediacy and hypermediacy. The research questions concern ways of looking at art when participating in sofa tours and the differences compared to physically viewing art at the museum. In conclusion, the sofa tours made by Moderna Museet offers several alternatives to physical museum visits, not necessarily better or worse. Participants can actually modify their experience of participating in sofa tours and looking at art, for example by choosing to participate live or afterwards, with or without access to other participants comments, questions and reactions as well as choosing between using Facebook, Instagram, YouTube or the museum webpage to access the sofa tours. Comparing sofa tours to physical museum visits showed that both their principal function is to provide opportunities for people to view art together with other people, with or without the aid of a guide. However, most of the mediated space in the physical museum is unavailable to sofa tour participants. On the other hand, the sofa tour creates another set of unique mediations which do not exist in the physical museum space.
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Gevart, Louis. "La sculpture et la terre : histoire artistique et sociale du jardin de sculpture en Europe (1901-1968)." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100016.
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Établir que la sculpture et le jardin suivent une longue histoire commune relève du lieucommun. Au XXe siècle pourtant, le jardin de sculpture est devenu un espace porteur dansl’évolution des arts plastiques. Lieu intermédiaire entre la ville et le paysage, le jardin est un champ d’expérimentation formelle pour les artistes en même temps qu’une propositionmuséale ouverte. La première partie de l’étude porte sur le temps des prototypes (1901-1945),marqué par la diversité des pratiques : le plein air attire autant les sculpteurs questionnant leur rapport à la tradition et à la nature que les collectionneurs qui par leurs choix d’exposition posèrent les jalons d’une histoire de la sculpture en marche. Dans tous les cas, l’ancrage à la terre est fort. La deuxième partie traite de l’affirmation institutionnelle du jardin de sculpture dans la reconstruction (1945-1958). Réel ou imaginaire, le musée de sculpture en plein air est un champ où s’expriment les forces de la sculpture contemporaine et où s’affirment au public les questions sculpturales de l’avant-garde et où s’opère une mutation de la dialectique nature/(s)cul(p)ture. La troisième partie concerne les déplacements du jardin de sculpture (1958-1968) : de la nature à la ville dans une volonté des artistes d’investir pleinement l’espace public et d’acteurs culturels trouvant dans l’architecture un autre « en-dehors », mais aussi de la ville à la nature avec un retour à la terre de collectionneurs et directeurs de musées visionnaires concevant des espaces paysagers spécifiques, posant les prémices d’un art in situ dans le cadre institutionnelIt is generally accepted that sculpture and garden have shared a common history. Throughoutthe 20th century, however, the sculpture garden has become a strengthened space for theevolution of plastic arts. As an intermediate place between city and landscape, the garden isan experimental field both to the artists (in a formal sense) and to the museum (as an openspace). The first part of the dissertation deals with the time of prototypes (1901-1945) whenthe sculpture garden was characterized by its variety. Outdoors, sculptors have questionedtheir relation ton tradition and nature while collectors have put the first steps of a livinghistory of sculpture by their exhibition choices. By all means, their anchoring to the earthremained strong. The second part relates to the growing of the sculpture garden as culturalmodel during the Reconstruction (1945-1958). Whether real or ideal, the open-air sculpturemuseum then turns into a public theatre in which the forces of the contemporary sculpturefind their expression, particularly through the mutation of the nature/(s)cul(p)ture dialectic. At last, the third part deals with the sculpture garden shifts during the 60s (1958-1968). On the first hand, these shifts went from the landscape to the city: the artists would integrate moredirectly the urban space and the curators saw the architecture as another “outside”. On the second hand, they went from the city to the landscape: collectors and museum directors came back to the earth, conceiving specific landscapes for sculpture, laying the foundation of theexpression of an in situ art in the institutional framework
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Eriksson, Elin. "Museet i en digital värld : En visuell analys av Nationalmuseums digitaliserade verksamheter." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448612.
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Digital technology has changed the nature of how humans live as a society with lives orbiting a digital core of internet, smartphones, social media etc. There is now not only a physical world but a digital one too. This far-reaching transformation also applies to cultural institutions to digitize their activities, a result of responding to the expectations of a contemporary audience. The aim of this study is to examine the digitization of art- and cultural heritage in a digital world. The essay examines the digital activities of the Swedish National Museum of fine art that has developed before, during and as a result of the COVID-19 pandemic. This is done through visual analysis and the theoretic framework of postphenomenology and social semiotics. The study finds that cultural heritage can be digitized in many different ways but that the digitization can’t replace the physical encounter with an artwork. Yet it can constitute new ways and perspectives on how to experience, see and discuss traditional works of art. Digitization of cultural heritage can therefore work to enhance its general interest, disseminate and influence an increase in availability of knowledge about cultural heritage and art history.
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Cho, Ah Young. "Enjeux de la gestion des ressources humaines : histoire et perspectives de la professionnalisation du personnel des musées." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010555.
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Cette thèse appréhende l'histoire de l'évolution des musées et la professionnalisation de ses acteurs, la diversification de leurs fonctions pour répondre à des nouvelles tâches, pour favoriser véritablement un rôle de service public et implanter des services des publics. Nous nous sommes intéressés aux deux groupes professionnels liés à la conservation et à la médiation dans le contexte du rôle social des musées. Cette recherche explore l'état actuel de la fonction des médiateurs et leur non-reconnaissance professionnelle par rapport aux conservateurs dans la division du travail au sein de l'organisation, en dévoilant le processus de construction du champ d'action dédié à la médiation culturelle dans les musées. Finalement, elle se focalise sur les enjeux de la Gestion des Ressources Humaines, à travers une observation des dispositifs visant à reconnaître l'identité professionnelle et les activités des médiateurs au sein des muséesThis thesis apprehends the history of museums development and the professionalization of its actors, the diversification of their functions to meet new tasks, to promote a public service role and implement public services. We were interested in two professional groups related to the conservation and mediation in the context of the social role of museums. This research explores the current state of mediators' function and its non-professional recognition from the curators in the task division within the organization, revealing the process of building the scope dedicated to cultural mediation in museums. Finally, it focuses on Human Resource Management issues in order to recognize the professional identity and activities of mediators in museums
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Negyesi, Pal. "How the motor museum saw the automobile : curating the automobile as commodity, as design and as social history in Germany and Austria in the 20th century : from national identity to mobility." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/43055.
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The automobile has defined the 20th century. It has brought along radical changes in mobility, altered the landscape, transformed communities and everyday life. Although this complex object has been shown in museums for over a century, an in-depth academic study which looks at the different institutions and changing curatorial practices around the automobile has been lacking. This thesis charts the evolution of the motor museum in Germany and Austria. Here the motor museum is being defined as a museum where automobiles are displayed. It includes science, technical, industrial museums, local history museums and company museums. This thesis draws upon the work of Lubar (Lubar&Kingery, 1993) and Divall (Divall&Scott, 2001) in order to conceptualise the car as a museum object and as an object of material culture. With the help of fifteen case studies it analyses the different type of museums, their development, their curatorial practices and their permanent and temporary exhibitions, in order to understand the different roles the automobile has played (and is playing) in these institutions. The tension between the static museum and the dynamic automobile is highlighted through specific examples. This thesis considers the role of collections, curators and exhibitions and looks at the automobile as a cultural, political and social sign in museum settings. It contends that the automobile is a complex object with different roles and functions. Therefore the automobile has a multi-faceted appearance in museums, where it is curated in many different, sometimes contradicting ways. Working on the assumption that if we understand the past we can plan for the future, this thesis provides examples on how to solve the tension of displaying a dynamic object in a static setting, thus offering curators a roadmap on planning future exhibitions.
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Lavorel, Marie. "Patrimonialiser les mémoires sensibles." Thesis, Avignon, 2014. http://www.theses.fr/2014AVIG1139/document.
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Ce projet de recherche a pour objectif de rendre compte du processus de patrimonialisation des mémoires sensibles qui s’opère à partir des différentes modalités de transmission d’un passé complexe. Il s’agit de comprendre à partir d’une situation réelle le fonctionnement des configurations médiatiques qui permettent d’assurer à partir du présent et au sein d’une institution culturelle le maintien d’une continuité temporelle et symbolique. Nous nous plaçons d’un point de vue anthropologique et communicationnel. Nous envisageons le patrimoine sous l’angle relationnel en nous intéressant à la question de la transmission entre les hommes. Nous l’envisageons comme une pratique sociale et symbolique qui met en scène et cadre au sein de l’espace public différents acteurs qui se partagent la construction d’un imaginaire social en vue de maintenir une continuité temporelle et une cohésion sociale. À partir d’un terrain principal effectué au Musée de la Résistance et de la Déportation qui nous a permis de suivre la totalité de l’actualisation de l’espace d’exposition dédié à la déportation, nous avons cherché à répondre à la question suivante : comment l’écriture patrimoniale d’une mémoire sensible s’élabore, transcendant ainsi les ruptures de lien, de sens et de temps qu’elle contient de part sa nature traumatique. Nous avons observé et analysé ce processus de patrimonialisation particulier mettant en scène un dispositif participatif muséologique selon trois axes, relationnel, symbolique et temporel qui suivent selon nous trois niveaux de construction du processus. Le processus analysé révèle le nouveau partage d’autorité qui se dessine entre différents mémoires et différents types de savoirs. Le dispositif de concertation mis en place par le musée est l’occasion pour les porteurs de cette mémoire sensible, tant du côté des résistants que de la communauté juive, de se rencontrer. Il est ainsi possible de penser la déportation non en terme de concurrence des mémoires, mais en terme de partage d’expériences mémorielles différentes qui établit les bases d’une construction possible de valeurs communes. Plusieurs de ces résultats complétés avec des enquêtes de terrains secondaires nous ont amenée à nous interroger sur les conditions nécessaires à une mise en patrimoine d’une mémoire sensible. Nous arrivons notamment aux conclusions suivantes: Le processus historiographique doit être abouti ou tout du moins le plus achevé possible pour que la patrimonialisation puisse être opérante, le climat mémoriel équilibré et la demande d’un processus de patrimonialisation doit venir de la communauté mémorielle concernée. Plus largement, ces résultats nous ont amené à interroger l’écriture de l’histoire du temps présentThe goal of this research project is to become aware of the heritagisation process surrounding sensitive memories which takes place through different modalities regarding the transmission of a complex past. It is to understand by means of a real situation the inner workings of mediatic configurations that allow us to ensure the upholding of a temporal and symbolic continuity based on the present and within a cultural institution. We position ourselves from an anthropological and communicational standpoint. We consider heritage from a relational angle, examining human transmission and seeing it as a social and symbolic practice, uniting on a public stage different actors who share the construction of a social imaginary for the purpose of maintaining temporal continuity and social cohesion.Our field research at the Museum of Resistance and Deportation allowed us to follow the entire updating process of the exhibition space dedicated to deportation, and raised the question of how a sensitive memory’s heritage is written, transcending the severing of relationships, meaning and time, amidst its traumatic nature. We have observed and analysed this specific heritagisation process utilising participative museological measures under three axes – relational, symbolic and temporal – and following three levels of the process’s construction.The studied process reveals a new shared authority materialised between the different memories and the different varieties of knowledges. The museum’s consultation framework is an opportunity for those bearing sensitive memories, both on the members of the resistance side and on the Jewish community’s, to meet. It is therefore possible to ponder deportation not in terms of contesting memories, but in terms of sharing different memorial experiences, establishing the grounds for a possible construction of common values.Many of these results achieved through secondary field research have led us to examine the necessary conditions for the heritage implementation of a sensitive memory. We reach the following conclusions: the historiographical process must be finalized or at least essentially completed for the heritagisation to be operative; a balanced memorial climate and the request for the heritagisation process must come from the memorial community in question. On a larger scale, these results have led us to question the writing of current history
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Knoell, Tiffany L. ""So You Want To Be A Retronaut?": History and Temporal Tourism." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1587590767297251.
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Casabona, Negrete Beatriz. "La Construcción Social de los Ejercicios de Colección del Museo Nacional de Bellas Artes - Una mirada desde la producción social del arte." Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/101439.
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El Museo Nacional de Bellas Artes de Chile es un referente cultural para el país. Lo que ahí
se expone define en gran medida aquello que en Chile se concibe como arte.
El museo ejecuta un trabajo complejo e interesante. Realiza variados tipos de
exposiciones, muchas son transitorias, otras tienen un carácter más definitivo y existe en
este museo un tercer modo que combina lo temporal y lo permanente. A esta última forma de
exhibición se le ha denominado Ejercicios de Colección. Si bien en esta última, se muestra
básicamente arte chileno en orden cronológico, ésta se distingue de las exhibiciones
permanentes tradicionales debido a la inclusión de obras que no pertenecen a la lógica de
la alineación temporal, con la finalidad de generar contrastes de diversa índole. También
incluye propuestas en las que se intervienen espacios con proyectos curatoriales más
específicos y que permanecen por menos tiempo en exhibición.
Las obras que se exhiben como base en los Ejercicios de Colección datan del siglo XVII
hasta fines del XX, siendo hasta mediados del siglo XX una selección muy representativa de
aquellos autores frecuentemente valorados. Pero tiene una debilidad en la exigua cantidad
de exponentes de arte chileno contemporáneo. Otra carencia del museo es la ausencia
de arte extranjero en una exhibición permanente o, al menos, al modo de los Ejercicios
de Colección. Frente a esta situación me propuse indagar en los factores que posibilitan
las actuales opciones. Por lo tanto, el objetivo general del trabajo fue descubrir por qué se
construyen Los Ejercicios de Colección del Museo Nacional de Bellas Artes, tanto en sus
modos de exhibición, como en la selección de obras.
Los modos de obtener información para esta tesis fueron: entrevistas, revisiones
bibliográficas y levantamientos de datos sobre las exposiciones in situ. Una vez reunida
la información, la analicé desde la perspectiva de la construcción social del arte y de la
producción cultural. Así, la presentación de los resultados obtenidos es expuesta, a través
de los capítulos, alternando datos informativos con sus respectivos análisis
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Atliman, Selin Adile. "Museological And Archaeological Studies In The Ottoman Empire During The Westernization Process In The 19th Century." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/2/12610176/index.pdf.
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The nineteenth century is a period, when great transformations were experienced in the Ottoman Empire. Besides the political, economical and judicial changes, with the impact of the westernization process, important leaps about two important components of cultural life, museology and archeology, were realized in terms of both collecting and protecting the ancient monumentsand their exposition. As two interrelated fields of culture and sciences originated from Europe, museology and archeology were incorporated in the cultural life of the Ottoman Empire in the nineteenth century. The Ottoman Empire was acquainted with these two scientific fields through the impacts of both the museological studies in Europe and the excavations of the foreign researchers and archeologists, conducted within the imperial territories. This study aims to observe the emergence of museological and archeological studies in the Ottoman Empire and its development by the impacts of the West. In this study, the origins of the museological and archeological studies, the first attempts in the Ottoman Empire and the development in the continuing process and the judicial acts about the mentioned fields composed in the 19th century are examined chronologically. In this process of development, the works of Osman Hamdi Bey were forming an important part of this thesis.
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Bianchi, Ronaldo. "MAM, uma historia sem fim." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/1185.
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Previous issue date: 2006-10-27The study of branding has gained different concepts and functions by the authors who had studied it. Today, we now that the brand is an important item of market differentiation which has an identity and an environment that the companies must be adapt. The brand identity it encloses not only who consumes it, but also encloses the public who work and sell the brand. The trademark is not only important for the corporative world, in the last few years the mark has became important in the cultural environment as a new form of businesses. In the cultural marketing, notices a procedure standard to start and sell new projects, as well as giving the continuation. Firstly, a unit for the construction of projects is mounted, with the ready project it is important to make a research for sponsors and to present the project with a media plan to close the selling of the business. In this work, we will analyze the Museum of Modern Art of São Paulo (MAM) as an important trademark in the Brazilian cultural scene. The work tells the history of MAM, by means of its different administrations. In the first administration of Ciccillo Matarazzo, the MAM was consecrated by the society, media and artists. In its second administration, the museum survived with few resources, because Ciccillo Matarazzo had left to finance the museum. In its third administration had Dinah Lopes Coelho as a leader who produced the Panoramas de Arte Brasileira and reestablish the brand prestige of The Museum of Modern Art of São Paulo. The fourth administration of MAM was headed by Aparício Basílio Da Silva, in this administration, the museum passed again for financial difficulties that had been only cured in the administration of Eduardo Levy, who inaugurates the phase of professionalism of the museum, which goes to stabilize itself in the management of Milu Villela. The Milu Villela s management has strong corporative characteristics; in this administration the professionalism of MAM is evident which acquired corporative and professional partnerships of diverse areas. We have analyzed the pointers of performance of the museum that we considered basic for the construction of the trademark MAM, are it: the headquarters, the quantity, financing, expositions, public, press repercussion, awards and the application of the brand
A marca ganhou diferentes conceitos e funções pelos diversos autores que a estudaram. Hoje, sabemos que a marca é um importante item de diferenciação de mercado, que possui uma identidade e um ambiente, no qual as empresas precisam se adaptar. A identidade de marca abrange não só quem a consome, mas, também, o público que com ela trabalha e o público que a vende. A marca não é apenas importante para o mundo corporativo, nos últimos anos a marca tornou-se importante no ambiente cultural como forma de novos negócios. E no marketing cultural nota-se um padrão de procedimento para começar e vender novos projetos, assim como dar a continuação. Primeiramente, monta-se uma unidade para a construção de projetos, com o projeto pronto é importante fazer uma pesquisa por patrocinadores e apresentar o projeto com um plano de mídia para fechar a venda. Nesse trabalho vamos analisar o Museu de Arte Moderna de São Paulo (MAM) como uma importante marca no cenário cultural Brasileiro. O trabalho conta a história do MAM, por meio das suas diferentes administrações. A primeira administração de Ciccillo Matarazzo, no qual o MAM foi consagrado pela sociedade, mídia e artistas. A sua segunda administração, o museu sobreviveu com poucos recursos, já que Ciccillo Matarazzo havia deixado de financiar o museu. A terceira administração teve a sua frente Dinah Lopes Coelho que produziu os Panoramas da Arte Brasileira e restabeleceu o prestigio da marca do Museu de Arte Moderna. A quarta administração do MAM foi encabeçada por Aparício Basílio da Silva, o museu voltou a passar por dificuldades financeiras que só foram sanadas na administração de Eduardo Levi, que inaugura a fase de profissionalização do museu, que vai se estabilizar na gestão de Milu Villela. A administração de Milu tem características corporativas mais fortes, nessa administração a profissionalização do MAM fica evidente adquirindo parcerias corporativas e profissionais de diversas áreas. Analisamos ainda os indicadores de desempenho do museu que consideramos fundamentais para a construção da marca MAM: a sede, o acervo, financiamento, grade expositiva, público, repercussão na imprensa, premiações e aplicação da marca
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Pereira, Eráclito. "CENTRO CÍVICO CRUZ E SOUZA: MEMÓRIA, RESISTÊNCIA E SOCIABILIDADE NEGRA EM LAGES SANTA CATARINA (1918 2012)." Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/11019.
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The black social clubs have had a great role and effective work in the formation of Brazilian society regarding the fight against slavery and racial discrimination. Having a wide contemporary conception, actions in the scope of cultural heritage have been passing monumentality and even materiality as a parameter of protection in order to embrace popular knowledge, practices and manifestations, guaranteeing the preservation of memory of different social groups that are part of Brazilian society.
The issue that guides this work is about the main measures that must be taken by public managers and by the State regarding preservation of the Black Social Clubs and their territories that, by the end of the 20th and the beginning of the 21th century, have been trying to overcome the adverse moments of dislocation and neglect, besides the loss of cultural identity and memory. This work uses bibliographic and documentary research as its methodology, besides techniques of oral history and analysis of the conclusions of the 1st National Meeting of Black Clubs and Societies, which took place in 2006 in the city of Santa Maria RS, and gave rise to new perspectives and paradigms expressed in the demands in the Letter of Santa Maria , a document that shows the policies for actions by club managers and the government for the next years. This research mainly aims to show the history of Cruz e Souza Civic Center from Lages, SC, by means of stories, history and memories of its main participants, proposing public policies for maintenance and preservation of material and non-material cultural heritage, protection, fortification and communication among these spaces of black resistance, identity and memory, in the light of contemporary museological processes.Os Clubes Sociais Negros tiveram exímio papel e atuação incisiva na formação da sociedade brasileira, no que concerne a luta contra a escravidão e a discriminação racial. Com uma concepção ampla e contemporânea, as ações no âmbito do Patrimônio Cultural vêm ultrapassando a monumentalidade e mesmo a materialidade como parâmetro de proteção, para abranger os saberes, as práticas e as manifestações populares, garantindo a preservação da memória dos diferentes grupos sociais que compõem a sociedade brasileira. O problema que delineia este trabalho versa sobre quais as principais medidas que devem ser tomadas por gestores públicos e o Estado, no que tange à preservação destes territórios que, ao final do século XX e início do XXI, vem procurando sobreviver às intempéries da desarticulação e do descaso, além da perda de identidade cultural e de memória. O trabalho utiliza como metodologia a pesquisa documental e bibliográfica, além de técnicas de história oral e análise dos encaminhamentos finais do 1º Encontro Nacional de Clubes e Sociedades Negras, realizado no ano de 2006 na cidade de Santa Maria RS e que deram origem a novas perspectivas e paradigmas expressos nas demandas da Carta de Santa Maria documento que aponta as diretrizes para as ações de dirigentes clubistas e poder público para os próximos anos. A investigação tem como objetivo principal dar visibilidade a história do Centro Cívico Cruz e Souza de Lages SC, por meio das histórias e memórias dos seus protagonistas, propondo políticas públicas de manutenção e preservação do patrimônio cultural material e imaterial, salvaguarda, fortalecimento e comunicação destes espaços de memória, identidade e resistência negra, à luz de processos museológicos contemporâneos.
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Aldaba, Flores Karina Erika. "Aportes de la Comunicación Social en la gestión cultural: “Día Internacional de los Museos” en el Museo Nacional de Arqueología, Antropología e Historia del Perú, años 2013 y 2014." Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2016. https://hdl.handle.net/20.500.12672/13875.
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Reconstruye el proceso de planificación del “Día Internacional de los Museos” de los años 2013 y 2014 realizado por el área de Imagen Institucional del Museo Nacional de Arqueología, Antropología e Historia del Perú (MNAAHP). Compara las similitudes y diferencias de los factores que determinaron la realización del evento en ambos años. Describe el proceso de ejecución del evento en ambos casos ante la ausencia de un protocolo, desde el enfoque comunicación y de la gestión cultural. Identifica los aportes de la comunicación social en la gestión cultural a través de la evaluación de los resultados del evento.Trabajo de suficiencia profesional
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Yocco, Victor Samuel. "Exploring the Effects of Communication Framed by Environmental Concern in Informal Science Education Contexts." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284688743.
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Joscelyn, Morgan T. "British Imperialism Of The Ottoman Empire Gender, Nationalism, And Cultural Changes." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/914.
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British imperialism of the Ottoman Empire is analyzed in terms of power and influence. Changes in gender roles, nationalism, and culture are all examined through the lens of imperialism. The discourse flows thematically and discusses brief histories of both Britain and the Ottoman Empire. The construction of the Imperial Museum created a unified image of the nation through the collection of material items. As a result of European imperialism, the Ottoman Empire developed a sense of national culture.
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Dreyfuss-Muresan, Raluca. "Bâtir un « Temple des muses » : une histoire sociale, culturelle et politique de l’architecture des théâtres publics dans la partie orientale de la Monarchie des Habsbourg (vers 1770-1812)." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL097.pdf.
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À partir d’un corpus de quinze édifices et projets dans douze villes localisées dans les pays habsbourgeois situés à l’est de la frontière du Saint-Empire romain germanique, cette thèse tente d’éclairer la question de la création d’un programme architectural spécifique à un théâtre public. À l’encontre d’une tradition historiographique centrée sur la réforme de l’auditorium et sur la monumentalisation progressive du théâtre, il s’agit d’interroger la façon dont les formes d’exploitation des spectacles déterminent les distributions architecturales et conditionnent les exigences formulées à l’égard de tels édifices. Pour ce faire, cette étude prend le parti d’ancrer l’analyse des expressions architecturales dans une histoire sociale et administrative des spectacles. Cela suppose de mettre l’accent sur les divers protagonistes impliqués dans la réalisation d’un nouveau théâtre public, comme sur les positions des administrations publiques et le rôle de la presse culturelle dans l’encouragement des opérations de construction et la diffusion des renseignements sur les édifices existants. Il s’agit ainsi de réinterroger les transferts de savoirs architecturaux, en mettant en valeur des acteurs souvent négligés par les historiens de l’architecture et des formes de circulation spécifiques au contexte impérial. Cette approche permet de faire remonter d’un demi-siècle environ la chronologie de l’émancipation d’une architecture spécifique aux théâtres publics en Europe centrale, tout en mettant en lumière des typologies oubliées, comme les théâtres-redoute ou les théâtres-auberge. Enfin, cette perspective méthodologique permet de saisir l’instrumentalisation de la nature durable de l’architecture des théâtres dans la construction d’un imaginaire de l’« Europe policée » promu par les hommes de théâtre du Saint-Empire romain germaniqueFrom a corpus of fifteen buildings and architectural projects in twelve cities located east of the border of the Holy Roman Empire, this dissertation endeavours to shed light on the question of the creation of an architectural programme specific to public theatre. Running counter to a certain historiographical tradition centred on auditorium reform and the progressive monumentalization of the theatre, this study examines how theatrical productions determined architectural distributions and conditioned the demands made upon such buildings. To this end, the analyses of the various architectural modes of expression are grounded in the social and administrative history of performances. This approach investigates the various parties involved in the realization of each new public theatre as well as the roles played by public administrators and the cultural press in encouraging the building projects and making information about the existing buildings available. By highlighting actors often neglected by architectural historians and modes of circulation specific to the imperial context, the process of transferring architectural knowledge may be questioned anew. The new avenues thus opened make it possible to extend the chronology of the emancipation of the architecture specific to the public theatres in Central Europe fifty years earlier, also shedding light on such forgotten typologies as the théâtres-redoute and the theatre-inns. Finally, this methodological perspective allows for a greater understanding of the political exploitation of the durable nature of theatre architecture toward the formation of an imaginary ‘civilised Europe’ promoted by the theatrical elite of the Holy Roman Empire
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Harrington, Kaysie Marie. "The American Studio Glass Movement: A Regional Study of its Birth in Northwest Ohio." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1542125173303787.
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Sancho, Benilson Mario Iecker. "Maré de cidadania: uma experiência pedagógica com alunos da escola pública no Museu da Maré." Niterói, 2017. https://app.uff.br/riuff/handle/1/4599.
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A presente pesquisa é resultado de uma experiência pedagógica em ensino de História, realizada com estudantes da turma 1902, concluintes do Ensino Fundamental do ano de 2015, da Escola Municipal Nerval de Gouveia, em Ramos, na cidade do Rio de Janeiro. Busca oportunizar experiências de valorização de memórias pessoais e familiares, bem como de objetos pessoais e de espaços comunitários e musealizados na tessitura do conceito de cidadania. A partir do contato com exposições permanentes do Museu Histórico Nacional e do Museu da Maré, pretendeu que os estudantes se apropriassem de diferentes patrimônios, ampliando o olhar acerca da cidadania. Em Chagas (2003) procurou reconhecer a dimensão poética dos museus, bem como valorizar patrimônios e referências comunitárias, enquanto ações pedagógicas inclusivas de pertencimento. A compreensão da materialidade da história travestida em objeto, dentro e fora do museu, é sugerida por Ramos (2004). Em Larrosa (2015) o saber da experiência é concebido na relação entre o conhecimento e a vida humana. Do ponto de vista metodológico, a pesquisa resultante da experiência pedagógica, expressa uma compreensão de autoria como uma rede de conhecimentos compartilhados com os estudantes da escola, no sentido apontado por Certeau (2012). A partir de tais pressupostos teórico-metodológicos, e em consonância com a proposta do Mestrado Profissional em Ensino de História, os resultados incluem a promoção de experiências marcadas pela relação apropriação/pertencimento que culminaram com a produção de uma exposição coletiva, solidária e autoral no espaço institucional do Museu da Maré, a Maré de Cidadania, bem como a escrita deste texto. A exposição ocorreu no período de 24 de outubro a 4 de dezembro de 2015, no Museu da Maré.
This research is the result of an educational experience in teaching History, held with students of the class 1902, graduating from elementary school in 2015, from the Municipal School Nerval de Gouveia, in Ramos, in the city of Rio de Janeiro. It aims to recover experiences of personal and family memories and personal objects and community and musealized in the collective construction of the concept of citizenship. From the contact with the permanent expositions of the Museu Histórico Nacional and Museu da Maré, we intended the students to appropriate of different assets, expanding their way to understand citizenship. In Chagas (2003) sought to recognize the poetic dimension of museums and enhance community assets and references, as inclusive pedagogical actions of belonging. The knowledge of the materiality shown through history object, inside and outside the museum, is suggested by Ramos (2004). In Larrosa (2015) the knowledge of experience is conceived in the relationship between knowledge and human life. From a methodological point of view, the resulting research of teaching experience, expresses a knowledge authored as a network of knowledge shared with school students in the direction pointed out by Certeau (2012). From these theoretical and methodological assumptions, and in line with the proposal of the Professional Master in Teaching of History, the results include the promotion of experiences marked by respect ownership / membership that led to the production of a collective solidarity and architectural exhibition at Museu da Maré, The Maré de Cidadania, as well as the writing of this text. The exhibition took place between October 24 to December 4, 2015, at the Museu da Maré.
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Edmundson, Joshua R. "THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.
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The ONE Exhibition explores an era in American history marked by intense government sponsored anti-gay persecution and the genesis of the LGBT equality movement. The study begins during World War II, continues through the McCarthy era and the founding of the nation’s first gay magazine, and ends in 1958 with the first gay Supreme Court case in U.S. history.
Central to the story is ONE The Homosexual Magazine, and its founders, as they embarked on a quest for LGBT equality by establishing the first ongoing nationwide forum for gay people in the U.S., and challenged the government’s right to engage in and encourage hateful and discriminatory practices against the LGBT community. Then, when the magazine was banned by the Post Office, the editors and staff took the federal government to court. As such, ONE, Incorporated v. Olesen became the first Supreme Court case in U.S. history that featured the taboo subject of homosexuality, and secured the 1st Amendment right to freedom of speech for the gay press. Thus, ONE magazine and its founders were an integral part of a small group of activists who established the foundations of the modern LGBT equality movement.
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Alsina, Galofré Esther. "La Societat Artística i Literària de Catalunya (1897-1935). Exposicions, crítica i col·leccionisme d’art." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/350794.
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És convenient focalitzar l’atenció a l’entorn de la Societat Artística i Literària de Catalunya perquè representa una institució fonamental per comprendre el dilatat i complex fenomen que van suposar les societats d’artistes a l’Europa de l’època. No només això, ja que l’entitat ens hauria de permetre analitzar en profunditat la seva notable trajectòria, les seves ambicions estètiques i tots aquells factors que la varen circumdar. Aquí rau el punt de partida del nostre projecte d’investigació, el qual representa la culminació d’un període acadèmic i l’inici d’un rigorós camí científic que avui pot veure la llum.
Tot i així, mai s’havia escrit sobre aquesta entitat de forma exhaustiva i monogràfica. I aquest fet sorprèn quan constatem la notable trajectòria que va tenir al llarg dels tres primers decennis del segle XX. Sorprèn encara més quan sabem que el seu instigador va ser el gran mestre paisatgista Modest Urgell, secundat per Enric Galwey i Lluís Graner, els quals precediren altres pintors i també escultors que arribarien a sumar al voltant d’un centenar de firmes. El nostre projecte d’investigació, ara materialitzat en la present tesi doctoral, esdevé la primera proposta per desvetllar d’una manera exhaustiva quins antecedents es van produir al voltant de la Societat Artística i Literària.
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Healy, Lynn Marie. "Framing the Victim: Gender, Representation and Recognition in Post-Conflict Peru." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440092938.
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Thalheim, Klaus. "Mineralogische Sammlungen: Archive für die Forschung." Stadtmuseum Dresden, 2019. https://tud.qucosa.de/id/qucosa%3A35968.
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Nach Rösler (1988) sind in seinem Lehrbuch der Mineralogie „Minerale stofflich homogene, meist feste, kristalline und anorganische Grundbausteine der natürlichen Materie“. Die International Mineralogical Association (IMA) gab folgende Definitionen: „Minerale sind Elemente oder chemische Verbindungen, die normalerweise kristallin und die als Ergebnis eines geologischen Prozesses entstanden sind“ (Nickel 1995) und etwas erweiternd „eine Mineralsubstanz ist ein natürlich vorkommender Feststoff, der durch einen geologischen Prozess auf der Erde oder in einem extraterrestrischen Körper gebildet wurde“ (Nickel & Grice 1998). Natürliche geologische Prozesse auf der Erde, aber auch auf Himmelskörpern, und die Kristallinität sind also wichtige Merkmale. Kristalle sind feste Körper mit dreidimensional periodisch angeordneten Bausteinen. [Aus der Einleitung.]
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Turell, Coll Luis G. "El coleccionismo de tejidos coptos en Cataluña: la colección Soler Vilabella del Museo de Montserrat." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/434477.
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Cada vez son más las colecciones de tejidos coptos estudiadas en el mundo. En el caso de Cataluña muchas de ellas proceden de colecciones particulares y se han incorporando tanto a museos de ámbito estatal como privados. El conjunto del Museo de Montserrat no es una excepción, su origen se remonta a la figura de Ramón Soler Vilabella, ingeniero textil y coleccionista de tejidos, y a su relación con el arqueólogo francés Albert Gayet, protagonista de las primeras campañas arqueológicas en Antinoë, Egipto. En la presente Tesis doctoral se presenta el resultado de la investigación dedicada al estudio sobre la formación de la misma, de cómo llegó hasta el Museo de Montserrat y sobre algunas de sus piezas más significativas que abar- can un arco cronológico desde el siglo III hasta el siglo VIII d.C. Así mismo, después de realizar un estado de la cuestión en relación a la investigación de los tejidos en la antigüedad, se ha realizado un estudio razonado de cada uno de los tejidos de la colección con los últimos avances en análisis de técnicos de cromatografía y de datación por 14C., completando de esta manera el objetivo principal de la Tesis, dotar a los tejidos de un contexto espacial, temporal y cronológico.Research on Coptic fabric collections is getting increasingly common all over the world. In the case of Catalonia, many of them come from private collections, which have been included in both state and private museums. The Monserrat Museum array is no exception. It’s source tracks back to Ramón Soler Vilabella, textile engineer and collector and his relation with the French archeologist Albert Gayet, main character in the first archeological campaigns in Antinoë, Egypt. The present doctoral thesis presents findings regarding crafting, analysis of some of the most significant pieces and how they got to the Monserrat Museum covering a chronological period from century III until century VIII AD. In the same way, after examining the state of the matter regarding research on antique textile, a reasoned study has been carried out using the latest chromatography and carbon dating techniques, fulfilling the main objective of the thesis which was to provide a chronological and time-space context for the fabrics.
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Landgraf, Eric. "Louis-Philippe, roi bâtisseur : le rêve d'une nation unifiée. Le chantier du château de Versailles de 1830 à 1848." Thesis, université Paris-Saclay, 2021. http://www.theses.fr/2021UPASK008.
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En décidant, en 1832, de transformer le château de Versailles en un musée historique et militaire évoquant toutes les époques glorieuses de la France et, en premier lieu, son régime, le roi Louis-Philippe marque d'une empreinte durable le chef-d’œuvre de son aïeul Louis XIV et, au travers d'une scénographie grandiose, adresse un message politique fort au pays. L’importance du chantier témoigne de l’investissement personnel du monarque dans la protection des monuments patrimoniaux. Conduit par le bras armé du souverain, la Liste civile, le chantier alors entrepris fait se transformer le château en un lieu de mémoire. Louis-Philippe cherche ainsi à fédérer les divers courants politiques et à les unifier dans un site unique dédié à la nation postrévolutionnaire. Cet acte royal ouvre la voie à la configuration du Palais tel que nous le connaissons aujourd’hui. La remarquable fréquentation du lieu qui en résulte marque le début de la démocratisation progressive du monument. Des travaux d’ampleur vont modifier pour toujours les grands appartements des ailes du Midi, du Nord et du Corps principal. Au cours de notre étude, nous avons voulu faire revivre les metteurs en scènes de ce nouveau décor, à savoir l’élite des fonctionnaires de la Liste civile, les opérateurs ou entreprises soumissionnés et les acteurs immédiats, les ouvriers – tous à l’œuvre sur le plus grand chantier culturel de la monarchie de Juillet. Le relevé des effectifs et la consultation des mémoires de travaux permettent d’appréhender la prolifération des tâches, de déterminer les trois grands ensembles de travaux – « entretien », « grosses réparations » et « travaux nouveaux et extraordinaires » – et d’étudier la concrétisation du parcours. Les démolitions transforment les lieux, les décorations ajoutées modifient le style d’origine et le musée expose en majorité les œuvres d’art peintes et sculptées par les artistes renommés de la période dans un cadre choisi et modernisé par le monarque. Notre étude établit enfin, grâce à un strict examen des archives comptables, le bilan financier du chantier, projet controversé à l’époque, dont les dépenses surveillées par une administration tatillonne sont bousculées par un roi tantôt trop économe, tantôt exagérant ses demandes au détriment du budget alloué. Le bilan social, quant à lui, apparaît plus contrasté. Il conforte l’idée que la monarchie de Juillet est bien une société libérale et inégalitaire, enrichissant les plus fortunés et ne concédant aux pauvres que de faibles revenus en échange d’un travail pénible. Le chantier du château de Versailles, reflet du monde entrepreneurial et ouvrier du milieu du XIXe siècle, constitue un condensé de l’organisation administrative, politique et économique de la France de Louis-PhilippeBy deciding, in 1832, to transform the Palace of Versailles into a historical and military museum evoking all of France's glorious eras and, first and foremost, its regime, King Louis-Philippe left a lasting impression on the masterpiece of his forefather Louis XIV and, through its grandiose scenography, sent a strong political message to the country. The importance of the construction site bears witness to the monarch's personal investment in the protection of heritage monuments. Led by the sovereign's armed wing, the Civil List, the construction site then undertaken led the castle to be transformed into a place of remembrance. Louis-Philippe thus sought to federate the various political currents and unify them in a single site dedicated to the post-revolutionary nation. This royal act paved the way for the configuration of the Palace as we know it today. The remarkable attendance that resulted marks the beginning of the gradual democratization of the monument. Major works will forever modify the large apartments of the South, North and Central wings. In the course of our study, we wanted to revive the directors of this new decor, namely the elite of civil servants of the Civil List, the operators or companies that were bidding for the contract and the immediate actors, the workers - all of them at work on the largest cultural site of the July Monarchy. A census of the workforce and consultation of the work reports allows us to understand the proliferation of tasks, to determine the three major sets of work - "maintenance", "major repairs" and "new and extraordinary works" - and to study the realization of the project. The demolitions transformed the place, the added decorations modified the original style and the museum exhibits mostly works of art painted and sculpted by the famous artists of the period in a setting chosen and modernized by the monarch. Our study finally establishes, thanks to a strict examination of the accounting archives, the financial balance sheet of the construction site, a controversial project at the time, whose expenses supervised by a meticulous administration were pushed by a king who was sometimes too thrifty, sometimes exaggerating his demands to the detriment of the allocated budget. The social balance sheet, for its part, appears more contrasted. It reinforces the idea that the July Monarchy is indeed a liberal and inegalitarian society, enriching the wealthy and granting the poor only low incomes in exchange for hard work. The construction site of the Palace of Versailles, a reflection of the entrepreneurial and working-class world of the mid-19th century, is a summary of the administrative, political and economic organization of Louis-Philippe's France
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Cirino, Gina. "American Misconceptions about Australian Aboriginal Art." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1435275397.
Full text
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Rocha, Eva. "Antithetical Commentaries on X, Y and the Disruption of Being." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4278.
Full textAbstract:
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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"Hidden from history: representation of women in the Hong Kong Museum of History and the search for alternatives." 2007. http://library.cuhk.edu.hk/record=b5896742.
Full textAbstract:
Hui Pui Lam Joe.Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 121-128).
Abstracts in English and Chinese.
Chapter Chapter 1 --- Buried in the footnotes-Introduction
Chapter 1.1 --- The importance of museums --- p.1
Chapter 1.2 --- What are museums? --- p.6
Chapter 1.2.1 --- Museums in Hong Kong --- p.6
Chapter 1.2.2 --- Definitions of Museums --- p.7
Chapter 1.3 --- Research Questions --- p.10
Chapter 1.4 --- Research Texts: --- p.10
Chapter 1.4.1 --- Background information of the ´بHong Kong Museum of History' --- p.10
Chapter 1.4.2 --- Background information of the ´بThe Hong Kong Story´ة --- p.11
Chapter 1.4.3 --- Background information of the ´بTai O Cultural --- p.12
Chapter 1.5 --- Methods of study --- p.13
Chapter 1.6 --- Chapter outline --- p.15
Chapter Chapter 2 --- The theoretical and critical framework
Chapter 2.1 --- ´بModernist museums´ة as gendered institutions --- p.18
Chapter 2.1.1 --- The dominant form of museum in the MH --- p.21
Chapter 2.2 --- Literature on gender representation in art galleries and history museums --- p.22
Chapter 2.2.1 --- In the context of art galleries --- p.22
Chapter 2.2.2 --- The pragmatic approach --- p.23
Chapter 2.2.3 --- The quantitative approach --- p.24
Chapter 2.3 --- "Gaby Porter and other museologists, works" --- p.25
Chapter 2.3.1 --- Gender dualism --- p.27
Chapter 2.3.2 --- Object-centered approach --- p.31
Chapter 2.3.2.1 --- The concept of ´بemotion material´ة --- p.35
Chapter 2.3.2.2 --- Methods to regenerate the representation of women in history museum --- p.37
Chapter 2.3.3 --- Classification system --- p.39
Chapter 2.4 --- New museology movement --- p.40
Chapter 2.4.1 --- Post-museum --- p.40
Chapter 2.4.1.1 --- The characteristics of post-museum --- p.42
Chapter 2.4.1.2 --- How does post-museum relate to gender? --- p.44
Chapter 2.4.2 --- Ecomuseum --- p.45
Chapter Chapter 3 --- Case study of the Hong Kong Story- Gender dualism and object-centered approach in exhibition
Chapter 3.1 --- General description of the Hong Kong Story (HKS) --- p.47
Chapter 3.2 --- Displays in lower and upper floors --- p.48
Chapter 3.2.1 --- Lower floor: Folk Culture in Hong Kong --- p.49
Chapter 3.2.2 --- Upper floor: Birth and Early Growth of the City and Modern Metropolis and the Return to China --- p.51
Chapter 3.3 --- Gender dualism in Exhibition --- p.53
Chapter 3.3.1 --- Male-defined experiences of work and daily life --- p.59
Chapter 3.3.2 --- Marginalization of work in domestic area --- p.63
Chapter 3.4 --- Object-centered approach taken by curators --- p.65
Chapter 3.4.1 --- Lower floor- The representation of wedding ceremony --- p.68
Chapter 3.4.1.1 --- Reasons behind the under-representation of women experiences in traditional wedding ceremonies --- p.69
Chapter 3.4.2 --- Upper floor- The under-representation of women experiences --- p.72
Chapter 3.5 --- Methods to exhibit the non-material formed history and emotion material --- p.75
Chapter Chapter 4 --- Out of the box: Case Study of the Tai O Cultural Workshop
Chapter 4.1 --- Orientation of the Workshop and the role of Ms. Wong in the Workshop --- p.81
Chapter 4.1.1 --- The Position of Ms. Wong in the Workshop --- p.82
Chapter 4.2 --- Description of displays --- p.83
Chapter 4.2.1 --- The interpretation of objects --- p.86
Chapter 4.2.2 --- The importance of Ms. Wong as a guide --- p.88
Chapter 4.3 --- A critical analysis of exhibition --- p.89
Chapter 4.3.1 --- The role of guide in the Workshop --- p.90
Chapter 4.3.2 --- The naming issue --- p.92
Chapter 4.3.3 --- The ways of object interpretation --- p.95
Chapter 4.3.4 --- Objects as emotion material --- p.96
Chapter 4.3.5 --- The position of Ms. Wong as a curator --- p.101
Chapter 4.3.6 --- The orientation of the Workshop- Tai O as a unique and lively community --- p.104
Chapter 4.4 --- Reasons for the success of the Workshop --- p.108
Chapter Chapter 5 --- Conclusion
Chapter 5.1 --- Comparison between the MH and the Workshop --- p.110
Chapter 5.2 --- Limitation of the Workshop --- p.114
Chapter 5.3 --- The positive role of laymen to change curatorial practices --- p.115
Chapter 5.4 --- In what ways can HKS learn from the Workshop? --- p.117
Bibliography --- p.121
Appendix
Appendix: Pictures of the Hong Kong Story (Chapter 3) and the Tai O Cultural Workshop (Chapter4) --- p.130
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Hansen, Christine Frances. "Telling Absence: Aboriginal social history and the National Museum of Australia." Phd thesis, 2009. http://hdl.handle.net/1885/9328.
Full textAbstract:
The ordinary stories of ordinary Aboriginal people are a necessary part of Australian history. Yet museums throughout Australia, and in particular the National Museum of Australia, which are charged with the task of telling these stories, struggle to find appropriate material means to do
so: the history which shaped Australian museum collections and the history which shaped contemporary Aboriginal communities do not neatly converge. This research reflects on both.
The structure of this thesis is fashioned around three distinct voices. The first of these is my own where I give an account of my engagement with the Ngarigo community from the Snowy Mountains region of New South Wales into whose contemporary reality and history I am drawn. This reflexive narrative also provides the means for consideration of the complex and sometimes confronting research process as it unfolds in the field. Stories rather than objects were central to the interests of the community participants and it was a story, or rather a series of stories, which I felt would best serve the thorny conjunction of politics, history and representation at the core of this project. Story is also the central method in the second voice of this work, that of the
historical narrative. Here the plot centres not so much on reflection as on reconstruction of a Ngarigo family history. It is this voice that provides a powerful juxtaposition between the reality of lived lives and the constructions of Aboriginality emanating from both the academy and from within institutions of popular culture such as museums. The third voice of the thesis offers an analytical examination of the ideas underpinning the conceptual and historical elements out of which a museum is constructed. In this way I explore how the processes which have constituted the museum might be re-configured to accommodate the particularities of Aboriginal social
history.