Tesis sobre el tema "Museum Administration et Museology"
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Fosmo, Talleraas Lise Emilie. "Et uregjerlig mangfold? : Lokale og regionale museer som saksfelt i norsk kulturpolitikk 1900 - cirka 1970". Doctoral thesis, Stockholm : Almqvist & Wiksell, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018678439&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
Texto completoWalker, Mary H. Molly Giles. "Challenges and Choices -- Four Single Donor Museums (the Isabella Stewart Gardner Museum, the McNay Museum of Art, the Walker Art Center and The Barnes Foundation) -- Creatively Adapt to Change". Thesis, The University of the Arts, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1553850.
Texto completoSingle donor museums like the Isabella Stewart Gardner in Boston, the McNay Museum of Art in San Antonio, the Walker Art Center in Minneapolis and The Barnes Foundation in Merion and Philadelphia, provide an intimate experience for their visitors, donors, supporters and staff members. They must compete with larger, more encyclopedic museums, with larger budgets and more resources. Like all museums, they hold art in the public trust and are responsible to the public. Contemporary museology asks not only that all museums protect their collections and educate the public, but that they also engage with their communities. None of the single donors highlighted had to donate their art, their money or their homes, but all chose to. Each museum chose to expand or relocate in response to difficult problems, whether financial, logistical (need for more space) or legal. Each engages new publics in creative ways. Certain predictable problems arose for each and they creatively resolved (and continue to resolve) those problems. Lessons learned from the experience of four single donor museums may suggest new thinking for those anticipating similar expansions or moves.
Hoffman, Sheila K. "L'histoire de la documentation des oeuvres d' art du 17e au 21e siècle : les impacts des technologies optiques et numériques sur les pratiques documentaires des galeries nationales à Londres, Ottawa et Washington D.C". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H014/document.
Texto completoThis research examines the divergences and convergences across the histories of three national galleries, in England, Canada and the United States, providing evidence of a common model that emanates particularly from two types of institutions that appeared in England during the 17th century: public museums founded on scientific and populist principles, and private art galleries anchored in elitist traditions. The national galleries compared in this study constitute hybrids in conflict with the original antagonistic models. But their most striking similarities reside in the evolution of their respective documentation practices. The continued struggle to truly integrate technologies in the documentation of art betrays the difficult heritage between these two opposing models. Throughout the unique historical trajectories of these institutions, there was little proof that optical or digital technologies had had important repercussions on the methodologies or the philosophies of the documentation of works of art. On the contrary, it was observed that documentation, even in digital form, continued to rely on minimal standards of data gathering, restricted groups of persons trained to collect data, and limited access to any data captured. This research reinforces the need to redefine museum documentation in order to rethink its strategies and guiding philosophies, to enable new research into museum collections, and to enlarge the integration of digital technologies into the process
Dehail, Judith. "Les musées de musique à l’épreuve de leurs visiteurs. Analyse critique des normes muséales et des rapports aux savoirs". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040182.
Texto completoThis research proposes an interpretation of transgression in the museum: it is understood as a prism through which to look at the architecture of the norms that govern the conceptual structure and apprehension of knowledge. The case of the music museum, observed through fieldwork in two different museums (the musée de la Musique in Paris and the Grassi Museum für Musikinstrumente in Leipzig, Germany), highlights the complexity of the steps undertaken to achieve this architecture and the problems they raise. The interviews held with visitors have indeed drawn attention to the paradox of musealizing objects which are primarily meant to produce music. The first part of my thesis intends to disentangle the multiple epistemes on which the museum of musical instruments is built. I point to the conceptions of musical knowledge around which instrument museums are organized and which they in turn, have helped to shape. The reactions of the visitors (some of them transgressive) when faced with the display of musical knowledge in the museum, also draws attention to the norms which delimit their status, and that of their own knowledge in the organization of the museum as an institution. The second part of the thesis is therefore structured around an analysis of the subsomption of the diversity of the museum visitors under the heading "museum audience" at the turn of the 20th Century. The third part focuses on the sensorial norms imposed by the museum apparatus. I analyze the conception of the sensorium on which the museum relies in order to transmit knowledge to its public and I show how the transgressions of visitors to the music museum shed light on the limits of this conception
Clapis, Pacheco Chaves Maria Luiza. "Le Musée du Mouvement des Sans Terre au Brésil : l'émergence d'un nouveau type de musée et d'une nouvelle muséologie". Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30027.
Texto completoIn the present work, we aim, first and foremost, to conceive a museum of the Landless Rural Workers Mouvement (MST) in Brazil. The struggle of the landless is one of the most important social and political phenomena in the history of this country. The Mouvement, mainstay of the popular mobilisation in Brasil, is the main reference in the figth against social inequality and neoliberalism, a force that leads to a strengthening in the concentration of wealth, inherent to the capitalist system, and socioeconomic disparities. First, we analyse the conception of this museum, its feautures, objectives, its importance for the social, economic and political development of Brazil and the feasibility of its implementation. We will see that the MST Museum presents a new kind of museum, one we define as a Struggle Museum, within de contexte of a new museology designated as Museology of Contemporaneity. This new museology highlights the need to adapt or update the objectives of social museums, wich were stablished by the New Museology mouvement of 1970-1980, in order to take into account the problems and collective aspirations of ours time. We will try to understand why the museums of New Museology have become ineffective relative to their original goals and how the Museology of Contemporaneity can provide a way out of a situation of inertia and help them play their role as social and political levers more effectively. Finally, with the conception of the Struggle Museum and its Museologie of Contemporaneity, we hope to open up new perspectives for the development of social museology, wherein it operates ; a politically-engaged museology in service of the creation of a better world, of human dignity, equality and social justice
Laberge, Marie Elizabeth. "Médiation de l'architecture par l'exposition et sa réception par des visiteurs experts et non experts". Phd thesis, Université d'Avignon, 2012. http://tel.archives-ouvertes.fr/tel-00879654.
Texto completoBeghdadi, Ymouna. "Politique culturelle patrimoniale de l'Algérie indépendante (1962-2010) : état des lieux, institutionnalisation, pratiques et stratégies". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010587.
Texto completoAfter the independence, Algeria developed a cultural policy for the overall management of its cultural heritage. An assessment of the former indicated deplorable cultural development conditions which were inherited from the colonial era. A policy of institutionalization of the different aspects of the national heritage was implemented gradually, accompanied by the implementation of important laws. The beginnings of Algerian archeology were characterized by empirical practices that typically arose from the lack of qualified human resources. A special attention was given to the Islamic archeology with regard to the significant delay that occurred in the ancient times. However, the difficulties inherent to the implementation of training, insufficient resources, etc...) have contributed to maintain the development of the heritage sector, unfortunately no to the desired extent. A case study that focuses on two the museums, the archeological museums of Cherchel ; the first site museum is of colonial design and creation and the second one is of an Algerian design. This case study highlights the strategies, approaches and practices of the Algerian museums
Soulier, Virginie. "Donner la parole aux autochtones : Quel est le potentiel de reconnaissance de l'exposition à plusieurs points de vue dans les musées ?" Thesis, Avignon, 2013. http://www.theses.fr/2013AVIG1129/document.
Texto completoCollaborations with aboriginal communities appear to be increasing in Canadian museums, with the communities shifting from speaking in a context of claiming theirrights to being given a voice in the museum context. In keeping with the questioning about ethnological museums, taking into account the voice of the aboriginal peoplesprefigures since the eighties the time for recognition. But the word recognition is used indiverse museum contexts.Based on a communicational approach, our research considers the links between thepolyphonic and recognition modalities of the exhibition media. We have attempted toidentify and understand the processes induced and generated by exhibitions’ interactionaland intertextual systems. The polyphonic system is conceptualized in three mediation moments in the production and reception spaces of the exhibition: acknowledgment, monstration, and interpretation of aboriginal points of view. They correspond to there cognition intentions of the exhibitions and designers-museographers, then visitors’recognition. We have conducted four field studies in eleven different Canadian museums : participant observation; one-on-one interviews with museum professionals; discourse analysis ; group interviews with native and non-native visitors. We have studied the collaborative practicesand these four types of museum discourses to demonstrate the recognition potential ofexhibitions dedicated to the aboriginals’ perspectives.Our research reveals several recognition modes manifest in the combination andinterlinking of aboriginals’ and practitioners’ voices; it identifies logic in the polysemy ofthe word recognition. This interpretation essay reveals patrimonial and socio-historical conflicts that generate regulation mechanisms through assimilation/accommodation. A permanent recognition phenomenon emerges from the adaptations implemented by themuseums since the beginning of aboriginal patrimonialization during the colonizationperiod. Our research proposes to apprehend the museum as a recognition place of heritage, but also of the general public and the peoples, whether donors or donees of that heritage
Benkass, Zahra. "La collecte de l'objet contemporain au sein de l'écomusée et du musée de société". Phd thesis, Université d'Avignon, 2012. http://tel.archives-ouvertes.fr/tel-00807037.
Texto completoLebat, Cindy. "Les personnes en situation de handicap sensoriel dans les musées : réalités d’accueil, expériences de visite et trajectoires identitaires". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA060.
Texto completoThis PhD dissertation focuses on the ways and means of the museum experience for visitors with visual or hearing deficiencies. For that matter, the aim is to grasp both the cultural mediation systems, the welcoming apparatus proposed by museums but also the experience lived by the visitors. This allows to touch upon the discourses then carried out regarding accessibility and difference. A field work was carried out in the museums of the region Île-de-France and through interviews with people with disabilities. The main objective was to bring out the way in which museums, through the devices they propose and by the discourses they carry and relay on accessibility, organize and reveal at the same time the social treatment of disability. Museums can be considered frameworks for analysis and for understanding identity trajectories, since the social processes giving a place and an identity to people are strongly perceptible in this institution. Moreover, the sensitive connection to environment and, in this case to the exhibits, is also conditioned by the museum. It therefore contributes to establish a self-image for the visitor, and thus to structure the visitor's journey. In addition, by also highlighting the ability of individuals to seize these elements to develop their identity trajectories, this work highlights the responsibility of the museum as an institution, which participates in the construction of social and personal identities
Figini-Véron, Véronique. "L'Etat et le patrimoine photographique : des collectes aléatoires aux politiques spécifiques, les enrichissements des collections publiques et leur rôle dans la valorisation du statut de la photographie : France, seconde moitié du XXe siècle". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010733.
Texto completoPhotography in France, after a long period of silent accumulation in public cultural institutions, became the object of specific collecting in the second half of the twentieth century. This had a bearing on its status. From the late 1930s onwards, curators in the print cabinet of the Bibliothèque Nationale in a process of re-evaluation at last came to consider the photograph as an object for collection. They set out therefore on a daring collection program with a double focus: documentation and artistic quality. With this the BN declared its ambition to become the leading museum of photography in France. Alongside documentary photographs, which remain a priority, conservatorial interest centered on both large groups of 19th century photographs intended to inaugurate a history of photography modeled on art history, and on contemporary creators. This was a pioneering, and durable approach, but insufficient for a recognition of photography as a national art. Some forty years later, in 1976, the secretariat of Cultural Affairs took over questions concerning photography. But the four ministerial branches concerned by photography reacted in an unequal manner. In a photographic environment evolving towards a cultural orientation, national collections were initiated at the Fondation National de la Photographie, Lyon (FNP), in the Musée National de I' Art Contemporain (MNAM), at the Fonds National d'Art Contemporain (FNAC) and at the Musée d'Orsay. At last photography was recognized as an art. During the 1980s, thanks to the combined effect of the City of Paris, 'Month of the photo', and the favorable policy towards contemporary art of Jack Lang's ministry, one of the major artistic events of the late 20th century took place: photography entered the realm of the plastic arts
Ruoso, Carolina. "Nid de frelons : neuf temps pour neuf atlas : histoire d'un musée d'art brésilien (1961-2011)". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H059/document.
Texto completoThis research sought to understand how Museum de Arte da Universidade do Ceara (MAUC) has become a Hornets House. In order to elaborate this explanation, we observed fifty years of it history (1961-2011), starting from the intrigue about the museum models in dispute in the late twentieth century, in Fortaleza city, as well as about the controversies involving its memory. So we organized our narrative in Nove Tempos para Nove Atlas, trying to analyze this Hornet House inside out, against the grain, and for this reason we present the MAUC through it scenes, watching from behind the windows, which are the characteristics and movements to this adjective. We understand that a Hornets House Museum goes through silence, while develop community and collaborative practices that take part of its history, contributing to the broad conceptual elaboration of its curatorial process. In this thesis we unfold its conceptual aspect that justified the creation of MAUC. We traced through a reading on knowledge circulation works of art and exhibitions, a mapping of relationships networks mobilized by this museum through its structural program. We investigate the possibilities of artistic creation in the physical museum space and the dimensions of cooperation proposed by the institution regarding expositions and works of art. We also try to identify the ways of seeing and being of the visitors at MAUC through the eyes of photographers while viewing exposures
Schmitt, Daniel. "Expérience de visite et construction des connaissances : le cas des musées de sciences et des centres de culture scientifique". Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00802163.
Texto completoKinoshita, Harumi. "La diffusion culturelle internationale : les enjeux de la politique de prêts d'oeuvre et d'expositions du MNAM-CCI (Centre Georges Pompidou) pendant la période 2000-2007". Phd thesis, Université d'Avignon, 2011. http://tel.archives-ouvertes.fr/tel-00767576.
Texto completoTremblay, Johanne. "Aux pieds du grand escalier : ce que donne à voir l'attribution par le ministère de la Culture et de la Communication d'un label de "qualité" sur les opéras (nationaux) de région en France". Phd thesis, Université d'Avignon, 2011. http://tel.archives-ouvertes.fr/tel-00671908.
Texto completoPoirier-Vannier, Estelle. "La mise en valeur de l'archéologie sur la côte nord du Pérou : le cas de Chan Chan et de Huacas de Moche". Thèse, 2016. http://hdl.handle.net/1866/16154.
Texto completoDelamour, Carole. "« S’il faut rapatrier tout ce qui est sacré, c’est la terre qui va venir à nous ». Le processus de rapatriement des objets culturels et sacrés des Ilnuatsh de Mashteuiatsh, au Québec". Thèse, 2017. http://hdl.handle.net/1866/20409.
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