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Dissertations / Theses on the topic 'Victoria Museum'
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Kim, Seong Eun. "Artists' intervention in 'universal' museums as traced through the Victoria and Albert Museum, the British Museum and the Pitt Rivers Museum." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508580.
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陸慶邦 and Hing-pong Jimmy Luk. "Sports Hall of fame: a sports and museum complex on Victoria Park." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984083.
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Luk, Hing-pong Jimmy. "Sports Hall of fame : a sports and museum complex on Victoria Park /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956802.
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Thesis (M. Arch.)--University of Hong Kong, 1998.Includes special report entitled: Lighting in sports museum : a question about when, where and how much. Includes bibliographical references (leaves.
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Adams, Ruth. "Gentlemen and players : the Victoria and Albert Museum : an institutional case study of the culture and society tradition." Thesis, Birkbeck (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429387.
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Bencatel, Diana Ornellas. "Gestão de risco de dano associado à luz solar : nova exposição de escultura no Victoria & Albert Museum." Dissertação, Porto : [Edição do Autor], 2010. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000206829.
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O risco de dano eventualmente provocado pela luz natural, em objectos de diversas naturezas, é uma questão frequentemente levantada em instituições onde a conservação tem um papel de destaque. Contudo, são mais raros os casos em que se faz uma avaliação profunda deste tipo de risco, avaliação esta que, podendo ser complexa, pode contribuir para a definição de medidas de prevenção da ocorrência acelerada de um tipo de dano que se caracteriza por ser cumulativo e irreversível. No Victoria and Albert Museum, em Londres, encontra-se em processo de preparação o projecto de uma nova exposição permanente de escultura. Tendo em conta a sensibilidade à luz referente a cada peça, assim como as especificidades dos espaços que virão a albergar o conjunto, parte das galerias incluídas no projecto foram alvo de uma avaliação profunda no que diz respeito ao risco de dano associado à luz solar. Neste contexto, foi monitorizada a iluminância externa e interna, tendo por objectivo a identificação das peças que estariam sob maior risco de dano acelerado e a proposta de medidas de mitigação de risco, a partir do cruzamento da informação sobre níveis de luz com o plano da distribuição prevista para as esculturas nas galerias. Este estudo incluiu a avaliação da eficácia da utilização de blackouts nas janelas. Os dados obtidos contribuíram para fundamentar argumentos defendidos pelo Departamento de Conservação, que visam a criação, aplicação e aperfeiçoamento de medidas de mitigação de risco de dano no conjunto de esculturas que se encontrará em exibição no V&A durante cerca de dez anos.
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Bencatel, Diana Ornellas. "Gestão de risco de dano associado à luz solar : nova exposição de escultura no Victoria & Albert Museum." Master's thesis, Porto : [Edição do Autor], 2010. http://hdl.handle.net/10216/57335.
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O risco de dano eventualmente provocado pela luz natural, em objectos de diversas naturezas, é uma questão frequentemente levantada em instituições onde a conservação tem um papel de destaque. Contudo, são mais raros os casos em que se faz uma avaliação profunda deste tipo de risco, avaliação esta que, podendo ser complexa, pode contribuir para a definição de medidas de prevenção da ocorrência acelerada de um tipo de dano que se caracteriza por ser cumulativo e irreversível. No Victoria and Albert Museum, em Londres, encontra-se em processo de preparação o projecto de uma nova exposição permanente de escultura. Tendo em conta a sensibilidade à luz referente a cada peça, assim como as especificidades dos espaços que virão a albergar o conjunto, parte das galerias incluídas no projecto foram alvo de uma avaliação profunda no que diz respeito ao risco de dano associado à luz solar. Neste contexto, foi monitorizada a iluminância externa e interna, tendo por objectivo a identificação das peças que estariam sob maior risco de dano acelerado e a proposta de medidas de mitigação de risco, a partir do cruzamento da informação sobre níveis de luz com o plano da distribuição prevista para as esculturas nas galerias. Este estudo incluiu a avaliação da eficácia da utilização de blackouts nas janelas. Os dados obtidos contribuíram para fundamentar argumentos defendidos pelo Departamento de Conservação, que visam a criação, aplicação e aperfeiçoamento de medidas de mitigação de risco de dano no conjunto de esculturas que se encontrará em exibição no V&A durante cerca de dez anos.
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Kjellström, Charlotta. "Museum Gustavianumssamling från utgrävningarna i Sedment : En efterforskning av de föremål som Museum Gustavianum förvärvade efter Petries och Bruntons utgrävningar i Sedment vintern 1920 - 1921." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446929.
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One aim of this essay is to conduct a thorough investigation into the origins of the objects inthe Victoria Museum, Gustavianum, collection VM 346–362 (the sequence expanded, later inthe project, also to include VM 346) and how they got there. This will be achieved byfollowing the paper trail back to the excavation in Egypt. The other is to describe how objectsfrom digs were spread between museums and different countries by W.M. Flinders Petrie.Questions have been raised about the perceived origins of the objects in the Gustavianumcollection VM 346–362. The collection has until recently been believed to be the funeraryobjects of the First Intermediate Period man Wadjet-hetep. In 1921 this collection was mostlikely bought by the Victoria Museum through Pehr Lugn, from W.M. Flinders Petrie, somemonths after Petrie and Brunton ended their excavation season of 1920/21 in Sedment, Egypt.However, the collection as a whole cannot be the funerary objects of Wadjet-hetep, since themajority of those are owned by and exhibited at Ny Carlsberg Glyptotek, Denmark.The one confirmed belonging of Wadjet-hetep in the Gustavianum VM-collection is the innercoffin which has his name on it. The collective memory of the museum claims that fivewalking sticks, also currently in the VM-collection, were found with the mummy inside theinner coffin at the excavation site. Unfortunately, the museum archive is extensively damagedand contains nothing that can tell us about the collection's origins.By investigating external sources, Petrie and Brunton’s accounts of the excavation, as well asonline catalogues and archives, the VM collection can be backtracked to Sedment. The resultsconclude that the objects in the collection derive from different tombs and periods.
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Waite, Julia. "Under construction : national identity and the display of colonial history at the National Museum of Singapore and the Museum of New Zealand Te Papa Tongarewa : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Museum and Heritage Studies /." ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1039.
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Amsellem, Rebecca. "Les stratégies d'internationalisation des musées et les nouveaux modèles d'affaires." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01E037/document.
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L'internationalisation des musées est une tendance illustrant les stratégies de développement des activités ces institutions hors du marché national d'origine. Comment peut-on définir ce phénomène ? Une analyse des correspondances multiples d'une base de données, créée à partir d'une enquête réalisée dans le cadre de cette recherche, fait apparaître une typologie des musées : les «élites», les «entrepreneurs innovateurs», les «entrepreneurs conservateurs» et les «artisans». Les acteurs ont deux stratégies d'internationalisation complémentaires : la stratégie de rentabilité économique et la stratégie patrimoniale. Par ailleurs, les musées voient leurs modèles d'affaire et de gouvernance évoluer. Les modèles historiques (le modèle dépendant, le modèle affranchi, le modèle mixte) semblent être remis en cause par une baisse historique des subventions publiques, une incertitude quant aux donations privées et des ressources en billetterie qui n'augmentent pas. L'internationalisation des pratiques a un impact sur ces modèles et permet de les faire évoluer. Enfin, les caractéristiques et les pratiques des musées à l'international sont illustrées par deux études de cas : le Victoria & Albert Museum et le Musée des arts et métiers (Paris, France)Museums are increasingly developing international strategies to raise their profiles outside of home markets. How can we define this trend? A multiple correspondence analysis of a database, which is populated by the results of a survey that we conducted among international museums, reveals that museums fall into four categories regarding their internationalization strategies: "elite", entrepreneur-innovator", "entrepreneur-curator" and "artisan" museums. Museums can have two complementary international strategies: one geared toward economic profitability or one geared toward the preservation of heritage. Traditional business models (dependent, independent, and mixed) face challenges from a decline in public subsidies, uncertainty surrounding private donations and stagnant ticket sales. The internationalization of museums have an impact on the historical models and contributes to the evolution of these business models. Two case studies illustrate the international characteristics and practices of museums: the Victoria & Albert Museum and the Musée des Arts et Métiers (Paris, France)
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Ariza, Mariana Guedes. "Democratização do acesso ao museu Victor Meirelles." Universidade do Estado de Santa Catarina, 2014. http://tede.udesc.br/handle/handle/113.
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Previous issue date: 2014-02-27Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The current work aims to create and select the best options according to the criteria of low cost and high impact as a way to make more democratic the visitation in the Victor Meirelles Museum, a federal museum located at the historical downtown of Florianópolis/SC. The theme is relevant because Victor Meirelles Museum, like many other small and medium size Brazilian museums, have to face a range of difficulties to implement the policies related to the democratization of public access to the museum, mostly because of limited human resources and small budget. Find a good way to overcome these limitations is a challenge that cultural institutions must confront and the solutions may be to seek creative alternatives that are simple and easy to implement. The theoretical fundaments were based on the public policy issue, idea generation, the context of Brazilian museums and the main ideas around the concept of participatory museum. The alternatives were created through interview techniques, benchmarking, brainstorming and, after that, they were evaluated from a one to ten grade according to the criteria mentioned above. As a result, it was presented a graphic divided into four quadrants in which is possible to visualize the best alternatives to be prioritized for the implementation in the Victor Meirelles Museum. The alternatives are not exclusive for the VMM, but they can also be adapted and implemented by other museums as well.
Esta dissertação tem por objetivo gerar e selecionar as melhores alternativas, segundo os critérios de menor custo e alto impacto, para tornar mais democrática a visitação no Museu Victor Meirelles, museu público federal localizado no centro histórico de Florianópolis/SC. A pesquisa se justifica porque o Museu Victor Meirelles, como muitos museus brasileiros de pequeno ou médio porte, enfrenta problemas na implementação das políticas públicas dedicadas à democratização do acesso do público ao museu, por conta das limitações físicas, de recursos humanos e de orçamento. Pensar em como ultrapassar essas limitações é um desafio que as instituições culturais devem enfrentar e as soluções podem estar em buscar alternativas criativas, que sejam simples e de fácil implementação. A fundamentação teórica se deu em torno do tema políticas públicas, geração de ideias, contexto dos museus brasileiros e as principais ideias em torno do conceito de museu participativo. As alternativas foram geradas por meio das técnicas de entrevista, benchmarking, brainstorming e, logo após, avaliadas por meio dos critérios de custo e impacto, dentro de uma escala de um a dez. Com o resultado final da avaliação, foi construída um gráfico dividido em quatro quadrantes onde é possível visualizar as alternativas que foram melhores avaliadas, sendo estas as mais indicadas para serem priorizadas para a implementação pelos funcionários do Museu Victor Meirelles. Nem todas as alternativas são exclusivas do MVM, podendo ser adaptadas e implementadas também por outros museus brasileiros.
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Morrison, Barrs Eanna. "'Great British Fashion Is...' : An Institutional Analysis of Vogue and the V&A." Thesis, Stockholms universitet, Modevetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184198.
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Both the fashion magazine and the fashion exhibition are powerful and authoritative sites for the representation, interpretation, and construction of fashion. Despite various intersections between the two, their relationship has remained relatively unstudied. This thesis aims to reveal and problematize the relationship between leading institutions in the United Kingdom: British Vogue and the Victoria and Albert Museum (V&A). An analysis of British Vogue’s content and the V&A’s fashion exhibitions of Vivienne Westwood: 34 Years in Fashion (2004) and Alexander McQueen: Savage Beauty (2015) is employed in order to unpack how these institutions are involved in defining and institutionalizing what fashion is in a national context. This institutional analysis considers the wider implications of the conception of British fashion produced by these institutions in regard to class, race, and gender, as Great British fashion is dependent on a system of representations that reveals hierarchies and exclusions.
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Parsons, Thad. "Science collection, exhibition, and display in public museums in Britain from World War Two through the 1960s." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:16cadaac-fb44-4edf-9063-d6ee6a9ffd09.
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Science and technology is regularly featured on radio, in newspapers, and on television, but most people only get firsthand exposure to ‘cutting-edge’ technologies in museums and other exhibitions. During this period, the Science Museum was the only permanent national presentation of science and technology. Thus, it is important to acknowledge the Museum’s history and the socio-political framework in which it operated. Understanding the delays in the Museum’s physical development is critical, as is understanding the gradual changes in the Museum’s educational provision, audience, and purpose. While the Museum was the main national exhibition space, the Festival of Britain in 1951 also provided a platform for the presentation of science and technology and was a statement of Britain’s place within the new post-War world. Specifically, within its narrative, the Festival addressed the relationship between the arts and the sciences and the influence of science and technology on daily life. Another example of the presentation of science was the quest for a planetarium in London - a story that involves the Science Museum, entrepreneurs, and Madame Tussauds. Comparing the Museum’s efforts with successful planetarium schemes isolates several of the Museum’s weaknesses - for example, the lack of consistent leadership and the lack of administrative and financial freedom - that are touched on throughout the work. Since most of this history is unknown, this work provides a fundamental basis for understanding the Museum’s current position, for making connections and comparisons that can apply to similar problems at other institutions, and for learning lessons from the struggles that can, in turn, be applied to other institutions.
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Buenafe, Mistén Louise. "Sound - Sense - Space: Might sound affect our experience of a room?" Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21463.
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Syfte: Rapportens syfte är att kartlägga om upplevelsen av ett rum kan förändras beroende på om och vilka ljud som spelas upp i rummet.Metod: I samband med en ljudinstallation på Plattan vid Malmö Högskola har rörelsemönster och beteende för Plattans besökare observerats. Dessutom har flera besökare besvarat en enkät.Resultat: Inga eventuella förändringar i rörelsemönstret eller beteendet för Plattans besökare kan ses som en konsekvens av ljudinstallationen. Det finns inte heller någon skillnad i enkätsvaren beroende på installationen. Slutsats: Resultatet ses som en konsekvens av bristfälliga forskningsmetoder. I rapportens slutsats bildas hypotesen att en installerad ljuddesign inte är en tillräcklig åtgärd i den undersökta typen av miljö. Tesen menar att en förändring av ljudmiljön och påverkan på människors upplevelse av rummet i första hand kräver akustiska åtgärder.
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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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Phipps, Gareth. "Bringing our boy home : the Tomb of the Unknown Warrior, its visitors, and contemporary war remembrance in New Zealand : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Museum and Heritage Studies /." ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1300.
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Cooper, Ann. "For the public good : Henry Cole, his circle and the development of the South Kensington estate." Thesis, Open University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317573.
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Allsop, Jessica Lauren. "Curious objects and Victorian collectors : men, markets, museums." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14976.
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This thesis examines the portrayal of gentleman collectors in late-nineteenth and early-twentieth-century literature, arguing that they often find themselves challenged and destabilised by their collections. The collecting depicted contrasts revealingly with the Enlightenment practices of classification, taxonomy, and commodification, associated with the growth of both the public museum and the market economy. The dominance of such practices was bound up with the way they promoted subject-object relations that defined and empowered masculine identity. In the Dialectic of Enlightenment Theodor W. Adorno and Max Horkheimer note that “[i]n the most general sense of progressive thought, the Enlightenment has always aimed at liberating men from fear and establishing their sovereignty” (3). That being so, this study explores how the drive to classify and commodify the material world found oppositional, fictional form in gothicly inflected texts depicting a fascinating but frightening world of unknowable, alien objects and abject, emasculated subjects. The study draws upon Fred Botting’s contention that gothic extremes are a reaction to the “framework” of “reductive and normalising limits of bourgeois morality and modes of production” (89). Examining novels and short stories by Richard Marsh, M.R. James, Arthur Machen, Vernon Lee, George Gissing, Wilkie Collins, Bram Stoker, Mary Cholmondeley, and Mary Ward, the thesis shows how gothicised instances of unproductive-masochism, pathological collecting, thwarted professionals, and emasculated heirs broke down the “framework” within which men and material culture were understood to interact productively and safely. Individual chapters dealing respectively with acquisition, possession, dissemination and inheritance, respond to the recent “material turn” in the humanities, bringing together literary criticism and historically grounded scholarship to reveal the collector and the collection as the locus 3 for concerns with masculinity and materiality that preoccupied a turn-of-the-century mindset.
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Mikasa, Princess Akiko of. "Collecting and displaying 'Japan' in Victorian Britain : the case of the British Museum." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669978.
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Bandy, Katherine A. "The National World War II Museum - Entertainment Department." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/187.
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This report contains the details of internship completed at the National WWII Museum in New Orleans, Louisiana. It will discuss the structure and practices of the Museum’s Entertainment Department through a 480 hour internship. Alongside Victoria Reed, the Director of Entertainment, I assumed the role of Entertainment Production Assistant in June of 2015. I completed this internship with the purpose of earning an Arts Administration degree at the University of New Orleans. The Entertainment Department at the National WWII Museum is but a fraction of what makes this organization a successful attraction in the city of New Orleans and the country. The Museum is a rapidly growing institution and there is much potential to expand past traditional museum exhibits with its Entertainment Department. This report will concentrate on the internship roles and responsibilities, strengths, weaknesses, opportunities, and threats of this specific department. It will also address best practices and recommendations specific to the Entertainment Department.
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Haveric, Dzavid. "History of the Bosnian Muslim Community in Australia: Settlement Experience in Victoria." full-text, 2009. http://eprints.vu.edu.au/2006/1/Dzavid_Haveric.pdf.
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This thesis examines the settlement experience of the Bosnian Muslims in Victoria. Overall this research exploration takes places against background of the history of the immigration to Australia. The study covers migration patterns of Bosnian Muslims from post World War 2 periods to more recent settlement. The thesis provides contemporary insights on Bosnian Muslims living in a Western society such as Australia. The thesis excavates key issues about Islam and the Muslim communities in Western nations and argues that successful settlement is possible, as demonstrated by the Bosnian Muslim community. By adopting a socio-historical framework about settlement, the thesis reveals the significant, interconnected and complex aspects of the settlement process. Settlement of immigrants takes place within global, historical, economic, political, social and cultural elements of both the sending and receiving countries. Thus any study of settlement must examine theories and concepts on migration, settlement, religion, culture, integration and identity. The purpose for migration, the conditions under which migration takes place, the conditions of immigrant reception are fundamental in the context of Australia. Furthermore, Australia since the 1970s has adopted a policy of multiculturalism which has changed settlement experiences of immigrants. These elements are strongly analysed in the thesis both through a critical conceptual appraisal of the relevant issues such as migration, multiculturalism and immigration and through an empirical application to the Bosnian Muslim community. The theoretical element of the study is strongly supported by the empirical research related to settlement issues, integration and multiculturalism in Victoria. Through a socio-historical framework and using a ‘grounded theory’ methodological approach, field research was undertaken with Bosnian Muslim communities, Bosnian organizations and multicultural service providers. In addition, historical data was analysed by chronology. The data provided rich evidence of the Bosnian Muslims’ settlement process under the various governmental policies since World War 2. The study concluded that the Bosnian community has successfully integrated and adapted to the way of life in Australia. Different cohorts of Bosnian Muslims had different settlement patterns, problems and issues which many were able to overcome. The findings revealed the contributions that the Bosnian Muslim community has made to broader social life in Australia such as contribution to the establishment of multi-ethnic Muslim communities, the Bosnian Muslim community development and building social infrastructure. The study also concluded that coming from multicultural backgrounds, the Bosnian Muslims understood the value of cultural diversity and contributed to the development of Australian multiculturalism and social harmony. Overall conclusion of this research is that the different generations of Bosnian Muslims are well-integrated and operate well within Australian multiculturalism.
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Di, Laura Melloh Antonella. "Museo Metropolitano de Arte Contemporáneo en La Victoria." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2014. http://hdl.handle.net/10757/315371.
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El proyecto ha sido concebido como una serie de elementos individuales, que tienen un nivel común donde se establece la conexión de todo el proyecto, de la misma forma en que funciona la escultura “la plaza” de Giacometti. Además cada uno de los elementos individuales funciona sin la necesidad del otro, pero también puede actuar formando parte de todo el conjunto. El concepto fue reforzado por la colección del museo, que consta de 6 colecciones, que no tienen una relación cronológica por lo que funcionan bien individualmente.Tesis
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Parker, Angela. "The History and Educational Legacy of the Manchester Art Museum, 1886-1898." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/623.
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This thesis examines the history of the Manchester Art Museum (Manchester, England), which was founded by Thomas Coglan Horsfall (1841-1932) in 1886. It considers the museum’s permanent collections and its programming from 1886 to 1898 with brief notes on the later years of the institution. While, like previous work on the Manchester Art Museum, the thesis contextualizes the museum within Victorian arts and community institutions, it breaks new ground by highlighting the ways in which it diverged from these institutions. The analysis of the museum’s collections and programming emphasizes the contributions that Horsfall and the Art Museum Committee made to museum education through the museum’s circulating loan collections and school tours.
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Robles, Fanny. "Émergence littéraire et visuelle du muséum humain : les spectacles ethnologiques à Londres, 1853-1859." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20038.
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Les spectacles ethnologiques victoriens mettent en scène des milliers de colonisés dans des zoos, cabarets, appartements privés et institutions scientifiques. Cette thèse se penche sur deux spectacles sud-Africains en particulier : les « Zulu Kafirs » et les « Earthmen », montés à Londres dans les années 1850. Prenant pour point de départ « The Noble Savage » de Charles Dickens, écrit après qu’il a vu les « Zulus », ce travail porte sur le fantasme victorien d’un « muséum humain ». Après une étude des concepts de « race » et de « sauvagerie » aux XVIIIe et XIXe siècles, nous abordons l’évolution des pratiques muséologiques et la fascination de Dickens pour un muséum humain monstrueux. Nous passons ensuite aux spectacles ethnologiques victoriens et au « spécimen » Africain comme « métonyme ethnographique » et mythe, évoluant dans un « fantasme hétérotopique ». Ce fantasme est réalisé dans le Département d’Histoire Naturelle du Palais de Cristal de Sydenham, dans lequel des moulages des « spécimens » sont exposés dans des « théâtres écologiques ». La visite y permet l’exploration sociale et pose le problème d’un cannibalisme moral, quand le colonialisme et l’impérialisme victoriens se heurtent à leurs propres contradictions. Ces dernières sont développées dans Bleak House (1853), où Dickens attaque la « philanthropie télescopique », alors que la « préférence ethnologique » semble aller aux esclaves américains, dont les récits sont publiés et mis en scène. A Tale of Two Cities (1859) pourrait ainsi être lu comme la réalisation de la crainte dickensienne de voir les pauvres s’ensauvager, si les philanthropes persistent à les exclure de leur muséum humainNineteenth-Century ethnological shows involved the display of thousands of colonised people in a variety of urban settings, including zoos, cabarets, private apartments, and scientific institutions. This dissertation focuses on two South African shows in particular: the “Zulu Kafirs” and “Earthmen”, both staged in London in the 1850s. Taking its lead from Charles Dickens’s pamphlet “The Noble Savage”, written after he saw the “Zulus”, this thesis looks at the Victorian fantasy of a “human museum”. Following a historical study of the concepts of “race” and “savagery” in the 18th and 19th centuries, we retrace the evolution of museological practices and look at Dickens’s fascination with a (monstrous) human museum. We then move on to consider Victorian ethnological shows and the African “specimen” as “ethnographical metonym” and myth, displayed in a true “heterotopic fantasy”. This fantasy was realized in the Natural History Department of the Crystal Palace in Sydenham, where casts of the “specimens” on show were arranged in “ecological theatres”. There, the museum visit allowed for social exploration among the visitors, and raised the issue of (moral) cannibalism, at the point at which Victorian capitalism and imperialism met their own contradictions. These are further explored in Bleak House (1853), where Dickens attacks “telescopic philanthropy”, as the “ethnological preference” seemed to go to American slaves, whose narratives were published and staged. In this light, we might read A Tale of Two Cities (1859) as the realisation of the writer’s fear that the Poor might revert to a state of “primitive” savagery, if they remain overlooked in the philanthropists’ human museum
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Pita, Wu Julio Freddie. "Museo del traje y festividades del Perú en La Victoria." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2015. http://hdl.handle.net/10757/582131.
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Diseñar un museo que muestre un tema con el cual la gran mayoría de limeños pueda identificarse. Que la edificación funcione como un espacio público urbano que al mismo tiempo proporcione espacios de esparcimiento para ‘comunicar’, tenga espacios interiores para ‘exhibir’ y ‘estudiar’ y proporcione el equipamiento necesario para que las personas a cargo puedan ‘adquirir y conservar’. Se plantea alcanzar estos objetivos con una sensibilidad hacia la tectónica y la elección de los materiales, proponer una arquitectura que permita crear espacios con distintas condiciones ambientales que se amolden al contenido museográfico mostrado o a la atmósfera que se desea lograr con la finalidad de proponer espacios de reflexión, recreación, interacción, descanso, entre otros.Tesis
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Hunter, Aislinn Paige. "Evocative objects : a reading of resonant things and material encounters in Victorian writers' houses/museums." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/21021.
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This thesis is a study of resonant things in Victorian writers’ houses/museums – a reading of those material objects that seem especially fit to presence the writer to whom they once belonged. Through the study of a selection of autographic objects in the houses/museums of Victorian writers, this thesis considers the following questions: What is resonance? How do things presence the absent individual with whom they are associated? Why do some categories of things – objects seemingly ‘imbued with a lasting sediment of their owners’ (Pascoe 3) – seem especially fit for the task of presencing, and how have we described or understood this phenomenon through narrative? Through a reading of things, categories of things, images, novels, life writing, cultural and critical theory and the house/museum space, this thesis will examine the relationship between presencing things, material metonymy, and remembrance. It will suggest that certain categories of things have qualities that allow them to serve as remembrancers, standing-in-for and eliciting a sense of the absent individual with whom they were once connected. Chapter one lays the ground for this reading of resonant things by contextualizing writers’ houses/museums as sites of literary pilgrimage and introducing and defining some of the key concepts and terms employed in this study such as autographic object, authenticity, contiguity and resonance. Chapter two moves inside the writer’s house/museum in order to demonstrate how things can ‘world’ via a reading of Marion Harland’s late nineteenth-century description of a tour of the Carlyle’s House alongside Martin Heidegger’s concept of worlding. Chapters three, four, five, and six look at different types of museum things, beginning with hair – the object most closely associated with the writer’s body – and then moving on to clothing, writerly tools such as desks and chairs, and ending with handwriting. Through assessing the particular qualities of each categorical thing alongside the concepts we meet these things with and the way that encounters with these things have been described in a variety of narratives, a number of the dynamics contributing to affective encounters with writerly things are uncovered. These dynamics or factors include: autographic ascription, authenticity, contiguity, metonymical fitness, equipmentality, and stasis/conspicuousness. Ultimately this thesis argues that certain things have a particular fitness for the task of evoking or presencing the absent individual for whom they stand, and that in doing so everyday objects undergo a metamorphosis: ceasing to be everyday tools fit for a specific task (for wearing, for sitting, for writing with) and becoming instead tools for remembrance – evocative things that presence both the absent individual with whom they are associated and the world they inhabited in their lifetime.
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Troufflard, Joanna. "Testemunhos funerários da Ilha de Marajó no Museu Dr. Santos Rocha e no Museu Nacional de Etnologia. Interpretação arqueológica." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2010. http://hdl.handle.net/10362/5570.
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Dissertação
de Mestrado em ArqueologiaEsta investigação baseia-se no estudo de dois conjuntos de vestígios arqueológicos recolhidos em contextos funerários na ilha do Marajó (Brasil, Pará) existentes em Portugal. Os oito fragmentos presentes hoje no Museu Dr. Santos Rocha provêem do sítio do Pacoval na região do lago Arari e foram depositados na instituição no final do século XIX. O contexto da sua recolha é desconhecido e pertence a um período em que foi realizada uma série de expedições à ilha, com o objectivo de reconhecer vestígios da cerâmica policromática marajoara. A história das peças presentes nas "Galerias da Amazónia" do Museu Nacional de Etnologia é mais recente, tendo origem numa recolha encomendada pelo próprio Museu nos anos 60 do século XX. A expedição à ilha foi realizada pelo coleccionador e antiquário, etnólogo e arqueólogo amador português Victor Bandeira, acompanhado por Françoise-Carel Bandeira, no ano 1964/65. Foi escavada uma necrópole do período clássico da fase marajoara (700-1100), situada no conhecido sítio d’ "Os Camutins", na região do rio Anajás. O espólio recolhido, composto por várias centenas de fragmentos e algumas peças inteiras de excepcional qualidade, foi adquirido em 1969 pelo Museu. O conjunto representa uma colecção inédita de objectos ameríndios em Portugal. Através do testemunho de Victor Bandeira, entende-se que na recolha mencionada a perspectiva coleccionista ultrapassa a arqueológica. Assim, foram seleccionados objectos de tipologias muito variadas e com uma profusão decorativa notável para representar a cultura marajoara no Museu português. Um aspecto importante relacionado com a divulgação desta cultura arqueológica na época actual é o trabalho de artesãos da ilha que reproduzem e recriam peças marajoara. Este artesanato exporta-se até Lisboa e participa igualmente na divulgação e no conhecimento desta cultura amazónica. Temos conhecimento de numerosos vestígios museológicos da cultura marajoara carentes de qualquer contextualização. Por isso, o facto de os acervos estudados estarem associados a determinada realidade geográfica, torna a análise mais pertinente. Desta forma, o estudo arqueológico dessas peças tem como objectivo a avaliação do conhecimento que trazem sobre a cultura material das populações da elite social marajoara, assim como das suas práticas funerárias. Essa análise é realizada à luz do conhecimento actual que existe sobre as populações amazónicas do passado, mas também sobre as actuais. Esperamos, de igual modo, que este trabalho possa fornecer um impulso às pesquisas sobre este tipo de colecções que sabemos existirem dispersas em diversos museus espalhados pelo mundo e, por vezes, pouco consideradas do ponto de vista científico.
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Addyman, Mary Elizabeth. "'All bundled together in endless confusion' : museums, collecting and material practices in late Victorian culture." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/85908/.
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This thesis examines how collecting was constructed through print culture in the latter half of the nineteenth century. It suggests that private collecting deviated from the modes of selection, arrangement and display which an increasingly professionalised museum culture employed to render their collections ‘useful’; that is, to make and transmit meaning. It argues that when private collections strayed from these ideal conditions, they threatened rational methods and structures through which meaning was made, and so were derided and marginalised in Victorian literature and culture. From literature’s frequent depictions of maniacal collectors, and through an examination of the collections held at the Cuming Museum, London, I develop two lines of inquiry into the borders between useful collecting and mad accumulation. The first part, ‘too close’, interrogates the collector’s touch, and asks what was at stake when objects were apprehended without the glass cabinets and velvet ropes of nineteenth-century museum displays. It sets out how the museum’s restriction of the tactile sense played a part in the transmission of linear, positivist narratives, and explores touch’s potential for inaugurating an affective relationship between people and things. It uses relics, which were prized in private collections and suppressed in museums, as a prism through which to examine Victorian attitudes toward corporeal knowledge. It also examines the relationship of these contexts to Victorian literature through a sustained analysis of the works of the nineteenth century’s most prolific writer of collectors, Henry James. The second section, ‘too much’, probes the problems with superabundance in nineteenth century collections. It interrogates three loci around which Victorian anxieties about excess were concentrated: the miser, the domestic interior and the lumber room. Examining the ways that textual productions helped to shape the meanings of excess in these contexts, it shows that cultural injunctions against copious collections stemmed from a fear that they exposed systems of creating meaning to irrationality. By investigating the ways in which nineteenth-century print culture, including fictions by Charles Dickens, Vernon Lee, and other writers in the periodical press defined the conceptual boundaries of collecting, this thesis interrogates the idea of ‘the collection’ itself, and highlights practices and practitioners that have not historically laid claim to that label. It argues that what is at stake in the definition of legitimate, useful collecting is access to the means of making knowledge itself.
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Rasmussen, Briley. "Pedagogy for the modern : Victor D'Amico and the Museum of Modern Art, 1929-1969." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/42851.
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This thesis explores the history of the educational mission and programs of the Museum of Modern Art, New York (MoMA) from 1929 to 1969, interrogating how education programs were critical to the museum’s presentation, definition, and dissemination of modern art in this period. It centers on the work of Victor D’Amico, the first director of education at MoMA, and follows the course of his tenure at MoMA from 1937 to his retirement in 1969. The first two chapters of this thesis address the philosophical roots of the museum and its education program. It begins with an examination of the progressive aspirations of the museum’s founders, as well as the pedagogical experiments of MoMA’s first director, Alfred H. Barr, Jr. It then introduces Victor D’Amico, exploring the progressive grounding of his work and the shifting notions of children and childhood that become the heart of his work at MoMA. Through the lens of specific programs the next three chapters investigate three different decades at the museum. Chapter Three focuses on the multiple exhibition Elements of Design and considers how the museum developed pedagogical tools to reach larger audiences for modern design. Chapter Four addresses the changing climate for MoMA and modern art following the Second World War and how the museum harnessed television as a critical medium to develop audiences for modern art and promote its place in a democracy. Finally, Chapter Five discusses how D’Amico’s Children’s Art Carnival was leveraged as a tool for cultural diplomacy in Europe and India during the Cold War. Through a focus on the educational philosophy and practices of the museum this thesis investigates the larger ambitions of MoMA to impact daily life. They believed an engagement with modern art and its ideas and practices could foster agency in people in the United States and abroad. Ultimately, this thesis charts a more expansive understanding of modernism and the role of museum education in the histories of art and museums.
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Weddell, Joanna. "Disseminating design : the post-war regional impact of the Victoria and Albert Museum's Circulation Department." Thesis, University of Brighton, 2018. https://research.brighton.ac.uk/en/studentTheses/48ad6ab0-ab30-434c-ad06-9d4bd35a843b.
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This thesis establishes the post-war regional impact of the Victoria and Albert Museum’s Circulation Department (Circ) which sent touring exhibitions to museums and art schools around the UK in the period 1947-1977, an area previously unexplored to any substantial depth. A simplistic stereotypical dyad of metropolitan authority and provincial deference is examined and evidence given for a more complex flow between Museum and regions. The Introduction outlines the thesis aims and the Department’s role in the dissemination of art and design. The thesis is structured around questions examining the historical significance of Circ, the display and installation of Circ’s regional exhibitions, and the flow of influence between regions and museum. Context establishes Circ not as a straightforward continuation of Cole’s Victorian mission but as historically embedded in the post-war period. The Historical Study outlines the Department’s origins and then divides into three sections; 1947-60 under Keeper Peter Floud, 1960-75 under Keeper Hugh Wakefield, and 1975-77 until closure, also covering Circ’s legacy within the Museum. Debates concerning the industrial and commodified inform an investigation of Circ’s acquisitions; design displays are discussed in relation to practices of vision. The evaluation concludes that Circ’s approach was tripartite, based on scholarly provenance, attention to design process and embrace of the contemporary, presented with some innovative displays. Two chapters concerning Impact on Regional Museums and Impact on Schools of Art, Designers & Industry make an original contribution to knowledge in establishing a balanced picture of the regional impact of the Department. Circ’s post-war activities are assessed using new primary research conducted at archives in Brighton, Cardiff, Liverpool, and Manchester, and interviews with former Circ staff. Circ is posited as a uniquely distanced but authoritative locus between state, design culture and industry and as historically significant in design and museology. The Conclusion summarises the Circulation model.
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Harris, Kathryn Leann. "Innocent Victors| Atomic Identity at the American Museum of Science and Energy in Oak Ridge, Tennessee." Thesis, University of Massachusetts Boston, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13420363.
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In 2009, the American Museum of Science and Energy (AMSE) in Oak Ridge, Tennessee debuted an updated history exhibit about the town’s role as one of three secret cities in the Manhattan Project. The exhibit presented a celebratory tone in honor of the innocent people who unknowingly and victoriously participated in the construction of the atomic bomb that aided the Allies in their successful end of WWII. The exhibit omitted the larger national, political nuclear discussion that took place over the following sixty-five years, cementing a long-held victory culture identity. In a 2009 world, the AMSE exhibit seemed incomplete, if not obtuse. Innocent Victors traces the history of AMAE/AMSE to examine the social, cultural, and political path that resulted in the 2009 and final AMSE exhibits. An analysis of public history commemoration trends, America’s twentieth century identity politics, and a chronicle of historical interpretation in Oak Ridge reveal a divergence in understood commemoration practices. Established public history theory suggests that the official and vernacular voices form a dichotomous relationship when interpreting the historical narrative. This thesis holds significant implications for examining the intersections between community and government perspectives on the historical narrative. This study also unearths specific theoretical and methodological barriers to interpreting the atomic bomb at public spaces in the United States. Moreover, Innocent Victors presents a commentary on the ongoing national discussion about the past, present, and future placement of the atomic bomb in American politics, ideology, and society.
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Murphy, Lynne M. "Muslim family life in the Middle East as depicted by Victorian women residents." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65957.
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Mtotha, Comfort Tamanda. "The cox collection, the museums of Malawi and the politics of repatriation, 1892-2016." University of the Western Cape, 2016. http://hdl.handle.net/11394/5543.
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Magister Artium - MAA wide range of scholarly inquiries have engaged with how museums all over the world deal with societal issues and the way the public interacts with the museum as a space of transaction and knowledge production. In Malawi, only a small proportion of literature deals with the museums and their relationship to the wider understanding of the country's history and the question of nationalism. However, as modern museums are transforming and reconfiguring themselves in dealing with histories of collection and calls for repatriation of ethnographic objects and human remains from their European counterparts are being made, there is no scholarly work or a nuanced representation on these issues for the Museums of Malawi. This study engages with a biography of a collection to think about museums, nationalism and the politics of repatriation. This biography begins when this collection of objects was collected from the tea plantations of Malawi and how it metamorphosizes from souvenirs to artifacts of rarity and then to "national treasures." The life of the collection is analysed and understood through its multiple journeys from Malawi to Europe and then to the United States of America where it attains a new meaning in a museum before its return to Malawi for a nationalist cause.
Centre for Humanities Research (CHR), University of the Western Cape
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Borey, Erica. "Reichenbachia, Imperial Edition: Rediscovering Frederick Sander’s Late-Victorian Masterpiece of Botanical Art." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3292.
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This thesis project examines the history, provenance, and contemporary treatment of a rare Imperial Edition of Frederick Sander’s print collection Reichenbachia, Orchids Illustrated and Described, a high-quality orchid compendium dating to the late-nineteenth century. A local philanthropist loaned the Imperial Edition Reichenbachia, number 86 of 100 to Lewis Ginter Botanical Garden in 2011 on a long-term basis as a promised donation. Research into the origins of this collection involves several disparate historical topics, including the Victorian period of “orchid mania,” imperialist business practices, and chromolithographic printmaking. Discussion of the transition of this collection into a museum art collection covers its consequent registration, conservation, and exhibition. Finally, this thesis project considers the advantages and disadvantages of managing an art collection at a botanical garden.
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Williams, Erin Colleen. "A History Revealed: The Inventions of Minnie Eureka Young." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/99.
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With my thesis work I question the evidence of history and how this evidence is read. I examine the theory of fractured history and alternate history, two examples of how perception of the past is completely altered when the science of reality is merged with imagination and mystery. As a vehicle for this examination, I use my own family history, something I am familiar with on many levels but also completely foreign to. As a curator of the story of my own history, I ask, "How can we know what is real?" and "If I say it is real, does that make it so?"
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Neumann, Sabine [Verfasser], Birgit [Akademischer Betreuer] Mersmann, Marion [Akademischer Betreuer] Müller, and Victoria [Akademischer Betreuer] Szabo. "Art Museums online - New visual challenges of Modern and Contemporary Art Collections / Sabine Neumann. Betreuer: Birgit Mersmann. Gutachter: Birgit Mersmann ; Marion Müller ; Victoria Szabo." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2016. http://d-nb.info/1098532848/34.
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Khattak, Shaheen Kuli Khan. "Images of Islam : a study of the differences between Islamic and Victorian conceptions of certain Muslim practices and beliefs." Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/images-of-islam--a-study-of-the-differences-between-islamic-and-victorian-conceptions-of-certain-muslim-practices-and-beliefs(7aefb186-bd3d-4899-aa46-6d4830240702).html.
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Almeida, Rosana Garcete Miranda Fernandes de. "A morte no cinzel de Victor Brecheret: Musa Impassível." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-27012016-125937/.
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À frente de seu tempo e com dons excepcionais, Victor Brecheret trilhou um árduo caminho de sucesso. Mesmo com poucos recursos, nunca desanimou ou deixou de tentar, tendo estudado em diversas escolas de arte, inclusive em Paris, como bolsista. Nascido na Itália, veio para o Brasil quando ainda era criança, e cresceu entre os grandes e renomados nomes da arte. Morou em Roma, onde abriu seu primeiro atelier, mas foi em Paris que elevou e firmou seu estilo. Sua temporada parisiense é recheada pelo aprendizado das três fontes: ênfase ao volume geométrico das esculturas cubistas, ao tratamento sintético da forma de Brancusi e à estilização elegante do Art Déco. Além desses estilos, Brecheret trouxe da Europa os traços do modernismo. Durante toda sua carreira artística, desenvolveu diversos e diferenciados trabalhos, porém, é sempre lembrado por talhar seu cinzel em gigantesco bloco de mármore, dando forma a magníficas e esculturais obras. Seu maior trabalho, o mais reconhecido e citado, é, sem sombra de dúvidas, o Monumento às Bandeiras, na cidade de São Paulo, pelo qual deixou sua marca registrada, eternizando seu nome e firmando sua arte. Brecheret também deixou sua marca em obras tumulares que encantam os olhos e transformam a dor da morte em beleza e suaves lembranças de uma vida plena. Sua principal obra, dentre a arte tumular, é a Musa Impassível, que adornou com graciosidade o túmulo da poetisa Francisca Júlia, por mais de 80 anos (1923-2006) e, desde 2006, está alocada na Pinacoteca do Estado de São Paulo. Criada como uma homenagem póstuma a uma grande mulher, a Musa Impassível é a união da literatura com a arte, da poetisa com o escultor, da dor com a beleza, da morte com a eternidade; é a real certeza de que uma pessoa pode ser eternizada por meio de uma escultura, admirada entre infinitas gerações e lembrada pelas suas conquistas e grandiosidade.Ahead of his time and exceptional gifts, Victor Brecheret walked a hard path of success. Even with few resources, never discouraged or stopped trying, he studied at several art schools, including in Paris with a scholarship. Born in Italy, he came to Brazil when he was a child and grew up among the great and renowned art names. He lived in Rome, where he opened his first atelier, but it was in Paris that he raised and formed his own style. His Parisian season is filled by learning from three sources: emphasis on geometric volume of cubist sculptures, synthetic treatment of form of Brancusi and the elegant Art Deco styling. In addition to these styles, Brecheret brought from Europe traces of modernism. Throughout his artistic career, he has developed on diversed and differentiated work; however, he is always remembered for his chisel carving in mammoth marble blocks, forming the magnificent and sculptural works. His greatest work, which is the most recognized and quoted, is undoubtedly the Monument to the Flags in the city of São Paulo, and for which he left his trademark, immortalizing his name and establishing his art. Brecheret also left his mark on tomb works. His funerary art is to delight the eyes and transform the pain of death in beauty and soothing memories of a full life. His main work, in the funerary art, is the Impassive Muse, which has been adorning with grace, the tomb of the poet Frances Julia for over 80 years (1923-2006), and since 2006, has being allocated in the Pinacoteca of the State of São Paulo. Created as a posthumous tribute to a great woman, the Impassive Muse is the union of literature with the art, the poet with the sculptor, pain with beauty, death with eternity; it is the real certainty that a person can be immortalized by a sculpture, admired along endless generations, and remembered for its achievements and grandeur.
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Oliveira, Emerson Dionisio Gomes de. "Analise historica, critica e simbolica de duas obras de Victor Brauner : arquitetura pentacular e taça da duvida." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280780.
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Orientador: Jorge Sidney Coli JrDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-07-24T08:49:55Z (GMT). No. of bitstreams: 1 Oliveira_EmersonDionisioGomesde_M.pdf: 3506731 bytes, checksum: b8eb400813298f5528919a4a5af10d5f (MD5) Previous issue date: 1998
Resumo: Não informado
Abstract: Not informed
Mestrado
Mestre em História
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Ayres, Sara Craig. "Hidden histories and multiple meanings : the Richard Dennett collection at the Royal Albert Memorial Museum, Exeter." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1039.
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Ethnographic collections in western museums such as the Royal Albert Memorial Museum (RAMM) carry many meanings, but by definition, they represent an intercultural encounter. This history of this encounter is often lost, overlooked, or obscured, and yet it has bearing on how the objects in the collection have been interpreted and understood. This thesis uncovers the hidden history of one particular collection in the RAMM and examines the multiple meanings that have been attributed to the objects in the collection over time. The Richard Dennett Collection was made in Africa in the years when European powers began to colonise the Congo basin. Richard Edward Dennett (1857-1921) worked as a trader in the Lower Congo between 1879 and 1902. The collection was accessioned by the RAMM in 1889. The research contextualises the collection by making a close analysis of primary source material which was produced by the collector and by his contemporaries, and includes publications, correspondence, photographs and illustrations which have been studied in museums and archives in Europe and North America. Dennett was personally involved with key events in the colonial history of this part of Africa but he also studied the indigenous BaKongo community, recording his observations about their political and material culture. As a result he became involved in the institutions of anthropology and folklore in Britain which were attempting to explain, classify and interpret such cultures. Through examining Dennett’s history this research has been able to explore the Congo context, the indigenous society, and those European institutions which collected and interpreted BaKongo collections. The research has added considerably to the museum’s knowledge about this collection and its collector, and the study responds to the practical imperative implicit in a Collaborative Doctoral Project, by proposing a small temporary exhibition in the RAMM to explore these histories and meanings. In making this proposal the research considers the current curatorial debate concerning responsible approaches to colonial collections, and assesses some of the strategies that are being employed in museums today.
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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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Moore, Gillian Lizbeth. "From head to tale : the circulation, display and representation of big-game material culture, c. 1870-1920." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/32476.
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Artefacts created from big game material proliferated during the period between 1870 and 1920 and, through their physical and metaphorical circulation as trophies, mementos, furnishings, garments, and personal accoutrements, became increasingly visible as they percolated from their predominantly elite genesis, into a multiplicity of public, domestic and civic spaces. This study seeks to discern the effect of their dissemination, showing how it impacted on the museum displays, domestic decor, fashionable dress and commodity culture of the era. It reflects the extensive representation of big game hunting, and its material effusions, in the text and images of the expanding periodical press, recognising the contribution of published sources to public reception of these artefacts and their developing role as commodities. My thesis aims to demonstrate that detailed examination of the varied and abundant artefacts which stemmed from big game hunting can offer valuable insights into the social and cultural history of the era and argues that this material's entanglement in Britain's imperial project is too significant to overlook. It contends that the transitions from nature to culture, which these objects illustrate, map the reach of the burgeoning Empire, and plot the dichotomies of late Victorian, and Edwardian, engagements with the natural world and subaltern nations. Scholarly work by John M. Mackenzie and Harriet Ritvo, in the mid 1980's, firmly established the relevance of the examination of material culture, within the contexts of animal studies and imperial history, as a fruitful field for academic research, arguing convincingly for further examination of its varied manifestations. However, a generation later, no comprehensive exploration of those elements appertaining to big game hunting has been attempted. Encouraged by the post-millennial 'material turn' in social history, identified by scholars including Bill Brown (2001), Erica Rappaport (2006) and Frank Trentmann (2009), my work draws on a wealth of contemporaneous factual sources including museum, exhibition and trade catalogues, fashion plates, unpublished correspondence, biographical material, museum records, archival sources and popular fiction, to explore the circulation and representation of big game material culture, during a long fin de siècle, and reveal its extensive influence. As a whole, this thesis seeks to offer a nuanced, detailed and holistic view of the visibility and affect of the material culture of big game hunting in the period.
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Hook, Sarah. "Reading the gallery : portraits and texts in the mid- to late nineteenth century." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:87ad5989-055a-4777-9418-5f636afd6f96.
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The Victorians saw more portraits than any generation before them. While the eighteenth century has been named 'the age of portraiture', portraits pervaded nineteenth-century society like never before. With the invention of photography, coupled with technological advancements in low-cost printing methods, the medium in which faces could be recorded was revolutionised, the classes of society that could afford to be immortalised expanded, and the spaces in which portraits were seen proliferated. These spaces included the public gallery, photography studio shop windows, and personal photograph albums. They also included the art periodical, biography, fiction, and poetry as the experience of portraiture became distinctly textual as well as visual. This thesis draws upon art history alongside literary, museum, and material studies to explore the creative exchange that developed between portrait viewership and reading practices in the mid- to late nineteenth century. Taking the establishment of the National Portrait Gallery in 1856 as its starting point, the thesis tracks the changing idea of the portrait gallery through its literary reception. It takes the portrait gallery to mean the physical space in which portraits were exhibited, and the conceptual idea of collecting, arranging, and interacting with portraits that permeated into the literary world. By focussing on the work of Edmund Gosse, Walter Pater, Thomas Hardy, and Vernon Lee, the thesis forms a 'gallery' of nineteenth-century tastemakers, each of whom looked to the democratic art of portraiture to reflect upon their literary art. How did portraits and texts interact in the mid- to late nineteenth century? In what ways did writers adapt the conventions of portraiture and the portrait gallery for the written text? This thesis seeks to answer these questions and provide new narratives about the complex relationship between the visual and the verbal in nineteenth-century culture. It observes the Victorian 'culture of art' with a more focussed eye to illuminate how the conditions of viewing, circulating, and collecting portraits specific to the period allowed the portrait gallery to serve as a particularly compelling arena for the literary imagination. Gosse, Pater, Hardy, and Lee tested the inherent limitations of portraiture as an art of imitation to realise its imaginative capacity for communicating with close and distant, contemporary and historic figures. They recognised that writing offered a valuable way of constructing the affective conversations that could be had with - and the stories that could be told about - portraits and portrait collections. With the proliferation of portraits came the problem and the opportunity of organising them.
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Meiers, Sarah. "The Green Dining Room: The Experience of an Arts and Crafts Interior." Thesis, 2008. http://hdl.handle.net/1974/1742.
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Commissioned in 1865 for London’s South Kensington Museum (now the V&A), the Green Dining Room was conceived during an exciting period in Victorian Britain, when idealistic artists and architects elevated the status of the decorative arts in fine art circles, promoted the ideal of joy in labour, and sought beauty in the everyday. The Green Dining Room is considered a quintessential example of an early decorative scheme by Morris, Marshall, Faulkner & Co., a collective of artists who helped to inspire Britain’s Arts and Crafts movement through their products and their principles of art manufacture. It is adjoined by two other refreshment areas: one designed by James Gamble (a salaried employee of the museum) and the other by Edward Poynter (a promising young painter with an affinity for the decorative arts). The three rooms manifest varied, even conflicting, opinions on the cultivation of design. They indicate how different design professionals hoped to see their art progress. However, the rooms were not simply artistic statements. They were also functioning dining areas for the use of guests and employees of the museum. By assessing the aims of the South Kensington administration, the ambitions of the designers who contributed to the museum’s fabric, and the impressions of Victorians who witnessed the results, I will illustrate how the Green Dining Room occupies a unique position in the history of nineteenth-century design reform.Thesis (Ph.D, Art History) -- Queen's University, 2008-09-07 21:35:05.076
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Murphy, Tracey. "Disrupting colonialism: weaving indigeneity into the gallery in schools project of the Art Gallery of Greater Victoria." Thesis, 2019. https://dspace.library.uvic.ca//handle/1828/10515.
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In 2015, the Truth and Reconciliation Commission made their final recommendations for Canadian society to address cultural genocide: by affirming stories of survivors, taking personal and professional inventory of their practices and making concrete steps to meet the Calls to Action. In particular, the TRC recognized damage done by museums and art galleries to perpetuate colonialism and yet, believed that these institutions could be sites of justice, particularly in relation to arts and artists
The Art Gallery of Greater Victoria, an institution steeped in colonialism and under pressure to create accountable relationships with Indigenous communities, began to act by revamping their education program for school age children entitled the Gallery in the Schools art program. My study asked Indigenous artists and educators to contribute their ideas for a new art program. I used a blended research of community based and decolonizing research models, contextualized within decolonizing and critical theoretical frameworks. Overall, research findings suggest that process is as important as the end product in the context of reconciliation and decolonization. Significantly, relationships were esteemed over the concept of reconciliation. These finding further imply that a successful art program would ground pedagogical content within a critical historical framework, be informed by a fluid understanding of identity and search out possibilities of hope. The theoretical implications of this study support increased contributions by Indigenous artists as key policy makers, who will challenge the deeply embedded power structures of institutions and offer alternative ways to share power and support Indigenous envisioned futures.Graduate
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Krautwurst, Miriam [Verfasser]. "Reinhold Vasters - ein niederrheinischer Goldschmied des 19. Jahrhunderts in der Tradition alter Meister : sein Zeichnungskonvolut im Victoria & Albert Museum, London / vorgelegt von Miriam Krautwurst." 2006. http://d-nb.info/979226732/34.
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Yanni, Carla. "Building natural history constructions of nature in British Victorian architecture and architectural theory /." 1994. http://books.google.com/books?id=sDBUAAAAMAAJ.
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Burland, Daniel Alton. "The persistence of military honor in a culture without victory." 2011. https://scholarworks.umass.edu/dissertations/AAI3482590.
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The military has a long tradition of distributing honors to its soldiers in a calculated and uneven way, all to reinforce internal hierarchies it finds necessary. For example, officers have nicer uniforms, are shown more respect, and are awarded medals at a higher rate than the soldiers they command. “Normal” soldiers used to be similarly privileged over their auxiliary “colored” counterparts. In the 20th Century a new line of demarcation was created between front-line combatants (infantrymen, artillerymen, and so on) on the one hand, and rear-echelon support soldiers (supply clerks, cooks, and so on), on the other. This new line of demarcation creates a two-tier system of honor, with support soldiers debased in social standing to show greater honor to their combatant brethren. Before the 20th Century, there were hardly any support soldiers to demean, as the logistical needs of the U.S. military were provided for by civilian camp followers. Now uniformed support soldiers constitute roughly seventy percent of the military. The front-line combatant soldier, once the typical soldier, has become a minority within the military, but a prestigious minority. The two-tier system of honor that privileges combatant soldiers over their support counterparts finds enthusiastic support among combatant soldiers, support soldiers, and in the civilian world. It is reasonable to show the most respect to soldiers who have suffered the most, and undeniably combatant soldiers are killed and wounded at the highest rate. Yet the nature of the two-tier system of honor has qualities that suggest that it is based on more than simply logical and just deference. First, support soldiers (the majority of the military) are not so much shamed as invisible: the fact that the new “median” soldier is today not an infantryman, but a cook, clerk, or water purification specialist rarely enters into public discourse. Secondly, while some uniformed service members are denied military honor, certain civilians have begun making unprecedented claims to military honor. By analyzing recent commemorative art about war, including the Washington D.C. memorials, the Quartermaster Museum at Fort Lee, VA (a museum founded to honor support soldiers), and local commemorative projects that aspire to national recognition, I will show that the social narrative of combat, long the dominant storyline of the military, has been fused with the related personal (and more inclusive) narrative of trauma. This new storyline of trauma-combat has discredited competing storylines. Technical competence, contribution to victory, and belief in the system one defends have become irrelevant, and these were the pathways to military honor open to support soldiers as such. The new narrative of trauma-combat also makes it possible for a war widow or a disabled contractor to claim the honor formerly reserved for soldiers. Loss related to war is the ultimate and only sign of a soldier, and who best embodies this loss than a war widow or a civilian contractor paralyzed by war wounds? At the beginning of the 20th Century, military authority asserted direct control over its camp-followers by placing them in uniform, thus creating a body of support soldiers that would eventually outsize the combat component it was designed to support. At the beginning of the 21st century, the periphery of the military continues to be militarized, while within the military itself, the typical soldier ceases in many ways to be a soldier at all.
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Ryan, Barbara Milligan. "The Relationship Between Women and Victorian Interiors, 1850-1890: With Specific Reference to the Morris-Butler House." Thesis, 1994. http://hdl.handle.net/1805/4970.
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