Tesis: "Museum of Printing History"

1

Sorvetti, Laura. "California Printing History and the Shakespeare Press Museum". DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/438.

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The Shakespeare Press Museum, a working letterpress museum at Cal Poly, San Luis Obispo, houses letterpress printing presses and equipment dating from the 1850s to the 1970s. Although the museum has been at Cal Poly since the 1960s, little work was completed on the historical context of the collections or to address the archival and educational frameworks of the museum’s collection. This thesis has three purposes: to place the museum’s collections in their nineteenth-century California historical context; to provide the first in-depth examination of the museum’s original founder, Charles “Shakespeare” Palmer; and to create an archival reference and program for the museum’s collections in their physical and digital form.

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2

De, Pasquale Andrea. "Jean-Baptiste Bodoni, imprimeur d’Europe". Thesis, Paris, EPHE, 2015. http://www.theses.fr/2015EPHE4051.

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Jean-Baptiste Bodoni (1740-1813) est l’un des imprimeurs les plus célèbres du monde occidental et, pour l’Italie, le dernier représentant de la « Typographie d’Ancien Régime » en même temps que le premier des « modernes ». Il a en effet été le dernier capable de dessiner, graver et fondre lui-même ses caractères, tout en exerçant conjointement l’imprimerie et la librairie. Après lui, l’industrialisation du livre commence : les activités qu'il réunissait dans son entreprise, selon la tradition remontant à la naissance de l’imprimerie, se scindèrent sans retour, tandis que la production imprimée s’adressait désormais à la fois à des marchés plus vastes et à des publics différents et plus larges. Les tirages de masse s'accompagnèrent d'une baisse de la qualité et d'une plus grande banalité du style. Grâce à Angelo Pezzana, directeur de la Bibliothèque de Parme au XIXème siècle, les outils utilisés par Bodoni pour fabriquer les caractères, mais aussi ses archives et une collection complète des volumes produits par son atelier, ont été conservés jusqu’à nos jours. Il est donc possible de reconstruire la vie de Bodoni, en insistant notamment sur ses rapports avec les cours d’Europe et avec le marché de la bibliophilie, sur les conditions et les pratiques de travail dans la fonderie de caractères et dans l’imprimerie, et sur la genèse des ouvrages les plus célèbres. La fortune qui a été la sienne remonte aux décennies qui suivent sa disparition et se prolonge jusqu’à aujourd’hui, où les caractères Bodoni sont utilisés dans les graphismes publicitaires et dans les revues, ainsi que pour les marques de mode. Ils sont, toujours, des symboles de l’élégance, de la simplicité, et en même temps du luxe et de l’italianité
Giambattista Bodoni (1740-1813) is one of the most famous printers of the western world and, for Italy, the last representative of the "Ancien Régime Typography" at the same time as the first "modern". It has indeed been able to make his own characters while exercising together printing and book trade. After him, the industrialization of the book begins: the activities he met in his company, according to tradition dating back to the birth of printing, divided without return, while print production is now addressed to both larger markets and different and wider audiences. Mass prints were accompanied by a decline in quality and of greater banality of style. With Angelo Pezzana, director of the Library of Parma in the nineteenth century, the tools used by Bodoni for making type, but also its archives and a complete collection of volumes produced by his typography, have been preserved until today. It is therefore possible to reconstruct Bodoni of life, with particular emphasis on its relations with the courts of Europe and the market for bibliophile, on the conditions and labor practices in the foundry of characters and in printing, and the genesis of the most famous works. His fortune follow his death and continues until today, where Bodoni characters are used in graphics and for publications and magazines, as well as for fashion brands. They are always, symbols of elegance, simplicity, and at the same time of the luxury and of the Italian style

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3

Choi, Kam-lung Franky y 蔡錦龍. "Macau history museum complex". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982670.

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4

Choi, Kam-lung Franky. "Macau history museum complex". Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948684.

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5

Jokinen, Heidi. "Turku Museum of History". Thesis, KTH, Arkitektur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-262843.

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In 2017 Finland celebrated its 100 years of independence. In honour of this event the City of Turku, Finland’s oldest city and former capital, decided to gift Finland a History Museum to commemorate the event. This project’s purpose is to propose a location, a program and a building for the museum. I have chosen a location in Turku Harbour across the street from Turku Castle, a fortress that has been on the site since 13th century. Today the Castle functions as a museum and is the city’s most popular museum with about 140 000 visitors annually. On the south end of the site there are four log warehouses belonging to the Castle from 1880’s as well as in the north end a 1930’s brick building that also functions as a warehouse. The Museums brings together not only the history of Finland and that of the City of Turku, but also the different buildings on the site. The new building is in the middle of the site, it brings together the surrounding buildings by parasiting itself to the existing buildings and in that way connecting them.

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6

Chan, Fat-tim y 陳發添. "Hong Kong natural history museum". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982761.

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7

Chan, Fat-tim. "Hong Kong natural history museum". Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948398.

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8

Balcerek, Katherine Emma. "The Whitney Museum of American Art gender, museum display, and modernism /". NCSU, 2010. http://www.lib.ncsu.edu/theses/available/etd-04012010-131832/.

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The Whitney Museum of American Art founded in 1931 by Gertrude Vanderbilt Whitney offers insight into the role of women patrons in the American art world. Furthermore, the Museumâs contemporary identification with the Museum of Modern Art obscures its unique history and different founding principles. This paper explores the foundation of the Whitney Museum in roughly the first two decades of its existence from 1931 to 1953 to examine how Whitney and the Museumâs first director, Juliana Force, negotiated gender and class ideology and the Modernist discourse to found the first museum solely devoted to American art. Gertrude Vanderbilt Whitney and Juliana Force operated the Whitney Museum based on three main principles: the primacy of the individual artist, the promotion of American art, and the importance of an informal museum space. The Whitney Museum of American Art, staked Whitney and Forceâs claim in a male dominated art world. The Museum was a complex space, representing a modern feminine viewpoint that embraced inclusivity and elitism, masculine and feminine, Modernism and conservatism. Whitney and Force wanted the Whitney Museum to be less formal and more inclusive, so they designed it like a middle class home with intimate galleries, furniture, carpets, and curtains. However, the decor hindered the Whitney Museumâs influence on the modern art canon because critics perceived the Museum as feminine and personal, Modernismâs rejection of the feminine and realism that ultimately led to the exclusion of the Whitney Museumâs collection of realist art from the modern art historical canon.

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9

Cash, Derek. "Access to museum culture : the British Museum from 1753 to 1836". Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361866.

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10

Bennett, Hunter Alane. "Help, Museum Needed| Building a Digital Museum for Lincoln County, Arkansas". Thesis, University of Arkansas at Little Rock, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10812452.

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Lincoln County, Arkansas, is a small county in the southeastern sector of Arkansas that lacks a museum dedicated to its history. With Lincoln County lacking the funds to purchase/build a physical space that is on-par with current museum standards, a museum building is an impossibility at this point. Yet, the older generations that are full of knowledge about the history of the county are fading away. To preserve past and future history, a new spin on a museum had to be accomplished. The spin was creating a digital museum. This study goes in-depth on the creation of a digital database and museum for Lincoln County using Omeka.net and WordPress.com according to Dublin Core and museum standards. The websites showcase a broad and general history of Lincoln County that will hopefully become a foundation for the creation of a physical museum.

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11

Lounis, Larbi. "Casablanca Museum". Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/81992.

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Architecture has always been about connection since its primary purpose of building a shelter for humans. Among many other things, it provides connections between people, and connections between people and the natural and built environment. The design and building process is about connection as well. We design in the present, relying on the past to build in the future. In this context, time is the strongest connection that is present in most of the built environment around us. I consider museums to be a good building type that connects people with objects and materials of historical, religious, and cultural importance through preservation and presentation for the public. Since a very young age, I used to admire the buildings while walking the streets of Casablanca, where I was born. A city that is a combination of traditional Islamic influenced design and the European style of construction brought by the colonizers. My goal in this thesis is to explore, in an architectural setting, connecting the old city to the new city, and present this story to the general public.
Master of Architecture

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12

李褔明 y Fuk-ming Li. "Gambling Museum". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31985920.

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13

Glasscock, Ann Marie. "THE SIXTY-NINTH STREET BRANCH OF THE PHILADELPHIA MUSEUM OF ART: A RESPONSE TO MUSEUM THEORY AND DESIGN". Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197756.

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Art History
M.A.
By the 1920s, ideas about the function and appearance of the American art museum were shifting such that they no longer were perceived to be merely storehouses of art. Rather, they were meant to fill a present democratic need of reaching out to the public and actively helping to cultivate the tastes and knowledge of a desired culturally literate citizen. As a result of debates about the museum's mission, audience, and design, in 1931 the Philadelphia Museum of Art opened the first branch museum in the nation on 69th Street in the suburb of Upper Darby in an effort to improve the relationship between the museum and the community. With sponsorship by its parent institution and financing by the Carnegie Corporation of New York City, the two organizations hoped to determine, over a five-year period, whether branch museums, like branch libraries, would be equally successful and valuable in reaching out to the public, both physically and intellectually. The new Sixty-ninth Street Branch Museum was to serve as a valuable mechanism for civic education by encouraging citizens to think constructively about art and for the development of aesthetic satisfaction, but more importantly it was to be a catalyst for social change by integrating the visual arts into the daily life of the community. In this thesis I will demonstrate that, although the first branch museum was only open for a year and a half, it nonetheless succeeded in shaping the way people thought about art and how museums were meant to function as democratic institutions in American society.
Temple University--Theses

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14

O'Callaghan, Amy. "Anti-Semitism and the Early Printing Press: a Study of the Effect of the Printing Press on Jewish Expulsions in Germany, 1450-1520". Oberlin College Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1374059638.

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15

Tivy, Mary. "THE LOCAL HISTORY MUSEUM IN ONTARIO 1851-1985: AN INTELLECTUAL HISTORY". Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2821.

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This thesis is a study of the changing model of the local history museum in Ontario, Canada and the consequential changing interpretations of the past in these institutions.

Beginning in 1879, local history museums in Ontario developed largely from the energies of local historical societies bent on collecting the past. While science museums used taxonomy and classification to mirror the natural state of the world, history museums had no equivalent framework for organizing collections as real-world referents. Often organized without apparent design, by the early 20th century a deductive method was used to categorize and display history collections into functional groups based on manufacture and use.

By the mid-twentieth century an inductive approach for interpreting collections in exhibits was promoted to make these objects more meaningful and interesting to museum visitors, and to justify their collection. This approach relied on the recontextualization of the object through two methods: text-based, narrative exhibits; and verisimilitude, the recreation of the historical environment in which the artifact would have been originally used. These exhibit practices became part of the syllabus of history museum work as it professionalized during the mid-twentieth century, almost a full century after the science museum. In Ontario, recontextualizing artifacts eventually dominated the process of recreating the past at museums. Objects were consigned to placement within textual storylines in order to impart accurate meaning. At its most elaborate, artifacts were recontextualized into houses, and buildings into villages, wherein the public could fully immerse themselves in a tableau of the past. Throughout this process, the dynamic of recontextualization to enhance visitor experience subtlety shifted the historical artifact from its previous position in the museum as an autonomous relic of the past, to one subordinate to context.

Although presented as absolute, the narratives and reconstructions formed by these collecting and exhibiting practices were contingent on a multitude of shifting factors, such as accepted museum practice, physical, economic and human resources available to the museum operation, and prevailing beliefs about the past and community identity. This thesis exposes the wider field of museum practice in Ontario community history museums over a century while the case study of Doon Pioneer Village shows in detail the conditional qualities of historical reconstruction in museum exhibits and historical restoration.

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16

Rong, Dongsheng. "Expansion design of the Anderson County History Museum". Kansas State University, 1991. http://hdl.handle.net/2097/36058.

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17

Bryans, Dennis Lindsay y gpp@optusnet com au. "A seed of consequence : indirect image transfer and chemcial printing : the role played by lithography in the development of printing technology". Swinburne University of Technology, 2000. http://adt.lib.swin.edu.au./public/adt-VSWT20060118.162852.

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The history of printing is dominated by studies of mechanical typography. In this thesis the role of lithography in modernising printing is presented as an alternative path. The conventional explanation of how different printing processes work is generally made by dividing them into relief, intaglio and planographic processes. This explanation is of questionable value now, in a world where digital pre-press and offset printing hold sway. It is an outmoded idea to think that different ways of delivering ink under pressure is at the core of printing. Instead, it is more useful to focus our attention on the role played by direct and indirect image transfer. The similarities between the uses made by Gutenberg and Senefelder of direct and indirect image transfer has a greater importance than has the simplified division of printing processes into classes based upon depth of impression which is, essentially, a mechanical idea grounded in the typographic tradition. The idea presented here is that Gutenberg's application of indirect image transfer in his invention of moveable type provoked changes of greater importance than did the alternative invention of printing illustrations directly from metal plates or wooden blocks. Similarly, direct lithography was transformed by Senefelder into a vehicle for indirect image transfer by the invention of lithographic transfer paper. This invention had important ramifications for the future of lithography and for the preservation of photographic images. The combination of chemical printing and indirect image transfer made the capture of photographic images possible for the first time. In the nineteenth century, lithography also provided the first means by which photographs could be reproduced with printing ink in books - typography following here rather than leading the way. These issues have not been clearly recognised by many. The widely acknowledged superiority of typography to print economically, sharply, and at speed, was not surpassed by lithographers (who tended to concentrate on technical illustration and decorative printing) for many years. It was not until indirect image transfer was applied to the lithographic press that this barrier to progress was overcome, and, at last, text and image were efficiently transferred photographically to the rotary offset press.

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18

Osborne, Geoffrey. "The history of design of the Jobbing Platen Press". Thesis, Liverpool John Moores University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262288.

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19

Kriekouki-Nakou, Irene. "Pupils' historical thinking within a museum environment". Thesis, University College London (University of London), 1996. http://discovery.ucl.ac.uk/10006594/.

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20

Lange, Andreas. "The Surreal Museum: An Intervention for the Cincinnati Art Museum". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179159972.

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Thesis (Master of Architecture)--University of Cincinnati, 2007.
Title from electronic theses title page (viewed July 12, 2007). Includes abstract. Keywords: Cincinnati Art Museum; Addition; Intervention; Surrealism; unheimlich; museum; Architecture Includes bibliographic references.

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21

Steyn, Sune-Marie. "A contemporary museum experience : the design of a new satellite museum for the Ditsong: National Museum of Cultural History in Pretoria". Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/30284.

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This dissertation originated from an interest in museum architecture and the desire to improve museum experiences for the inhabitants of Pretoria. The city is in need of a museum that does not distinguish between different cultures and backgrounds, and that provides an experience that a regular city user can relate to. This dissertation aims to address this need with the creation of a museum that relies on a chance museum encounter in an everyday place. This museum encounter will enrich people’s daily city experiences and provide opportunity for self-reflection and contemplation. The dissertation proposes a new satellite museum for the existing Ditsong: National Museum of Cultural History as a method of exposing the public to this museum. This satellite museum will function as a branch of the larger museum. The aim of this satellite museum is to provide regular users of the city with an unexpected museum experience. This dissertation considers what a contemporary museum in the inner city of Pretoria should be in terms of function and architectural implementation. The document investigates contemporary trends in museum architecture and evaluates existing museums in Pretoria. It also includes an investigation into culture in South Africa and into the relation of the satellite museum to its context. The study concludes that a contemporary museum experience is one that facilitates continuous change, and provides a spatial experience that blurs the threshold between the new museum and existing public space.
Dissertation (MInt(Prof))--University of Pretoria, 2011.
Architecture
unrestricted

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22

Minors, Brittany Lauren. "Revisioning history a rhetorical redesign of the Charleston Museum /". Connect to this title online, 2007. http://etd.lib.clemson.edu/documents/1202499947/.

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23

Galliher, Allison. "Early American Silver at the Currier Museum of Art". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078350.

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This project-based thesis has added five stops and an introduction to American Silver to the Currier Museum of Art’s mobile tour. The Museum has an extensive silver collection but has very little information readily available for its visitors in the galleries. This thesis provides those visitors with information about the Currier’s American silver collection. It uses the Currier’s current mobile application as a template while incorporating museum education teaching methods to create an engaging tour. The thesis begins with a history of silver in America from Colonial times to the start of the nineteenth century. This time period is best represented in the Currier’s American silver collection. The thesis discusses the role and development of the silversmith as a craftsman as well as the social history of silver in America during this period. It also discusses the use and advantages of using mobile technology in the museum setting. Many visitors already own mobile devices. Museums can take advantage of visitors’ familiarity with these tools by creating programs specifically for this technology. The tour itself is based on teaching methods outlined by the museum educator George E. Hein in his book: Learning in the Museum (1998). These methods are used to build upon the standards set by the Currier Museum of Art’s “Audience Engagement and Interpretation Philosophy” in order to make the tour more engaging for visitors. Articles by museum technology professionals Robert Stein and Nancy Proctor were also consulted when researching the best practices for mobile tours. Their work lays out many key elements for successful mobile applications including the use of media assets, stops where these assets are experienced and the connections used to move between the stops. The accessibility benefits of mobile technology for visitors, especially the use of audio recordings for visitors with disabilities, are also discussed and were taken into account when creating the tour.

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24

Grewcock, Duncan. "Disrupting the museum : doing museology differently". Thesis, University College London (University of London), 2009. http://eprints.kingston.ac.uk/19814/.

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25

Walton, James Andrew. "Like Jacob with Esau: The 3D Printed Replica and the Future of the Museum". Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/83543.

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The importance of the aura, the metaphysical element that gives art, artifacts, and other objects of cultural heritage their authenticity, has been heavily contemplated ever since the publication of Walter Benjamin's "The Work of Art in the Age of Mechanical Reproduction." This thesis strives to add to this conversation and expand upon it by delving into the emergence of additive manufacturing, or what is more commonly known as 3D printing, and its relation to museums and other institutions that comprise the public humanities. This technology challenges the auratic properties of an exhibit by first digitizing it onto a computer by scanning it and then uploading this data to a 3D printer, which then proceeds to replicate the scanned exhibit down to incredibly fine details. For museums the possibility that 3D printed replicas, increasingly able to be indistinguishable from the original and capable of being produced in great numbers at ease, replacing their auratic exhibits is a very real possibility to consider. This thesis argues that some museums are responding by despatializing their exhibitions in order to uphold their auratic exhibits, while others are offsetting the potential loss by turning their exhibitions into tactile, multisensory experiences. Either option, which are not mutually exclusive, transforms the traditional museum. This thesis ultimately concludes that it's possible to reconcile the auratic exhibit with the 3D printed replica should these institutions properly adapt. Doing so will allow them to continue fulfilling their mission statements to preserve and promote the auratic exhibits well into the future.
Master of Arts

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26

Solani, Noel Lungile Zwelidumile. "Memory and representation: Robben Island Museum 1997-1999". Thesis, University of the Western Cape, 2000. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=init_9418_1178281992.

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The notion of what constitutes a nation has been a subject of many debates. The nation, like individual is the culmination of a long past of endeavours, sacrifice and devotion. The post aprtheid project of reconciliation in South Africa is part of this desire to live together as citizens of one country irrespective of past differences. This desire transforms itself to cultural institutions like museums or rather cultural institutions represents this desire in a more systematic way in the post apartheid South Africa as they seek to transform.

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27

Kioussis, Sokratis I. "'Nature' and 'culture' in Greek contemporary museum practice : a study of the Goulandris Museum (of Natural History)". Thesis, University of East Anglia, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658703.

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In its various manifestations, 'art' could be described as a product of 'nature', on which it often reflects, alongside being a product of 'culture'. In recent and past scholarship 'nature' and 'culture' are often treated as opposed categories. Museums in particular have a role in the creation and maintenance ' of a nature/culture configuration. Representing the world in different ways, they have established boundaries between them in the very act of focusing attention on each and increasing understanding in both domains. Drawing on different museological traditions and responding to contemporary issues, the project of creating The Goulandris Museum has brought 'nature' and 'culture' together in its program, exploiting antiquities and other evocations of the ancient world to explain the natural world, especially in its latest schemes. This thesis· examines !he background to such practices, the ideas it embodies and the challenges it sets itself. However, it is more than a study of the history of one particular museum created in the second half of the twentieth century; this thesis also considers the history of other European museums, whose practices and development over time have contributed to the distinctive schema realised in Athens in recent decades. Chapter I introduces the Goulandris Museum and discusses the different ways in which museums have chosen to represent nature. Touching on the means by which they generate knowledge and awareness of the natural world, it discusses how the representation of nature in itself also reflects mankind's plasmatic relationship with the natural world. Chapter II looks back to 'cabinets of curiosity' and the founding and development of three influential institutions to reflect on the tradition of natural history museums in Europe. Chapter III continues with a conceptual and historical reading of London's Natural History Museum, an institution that greatly contributed to the rationale and public presentation of the Goulandris Museum, setting up its first displays. The detail of this particular institutional relationship is examined in Chapter IV, an analysis based on original archival research conducted at the Natural History Museum. . Chapter V examines the displays and practices of the Goulandris Museum prior to the emergence of its research and education centre ('Gaia Centre'), which we explore separately in Chapter VI in conjunction with the New Acropolis Museum, an institution that was designed by the same.architect, Michalis Photiadis. Interviews conducted with him and with the Director and several staff of the Goulandris Museum inform our analysis. That with Mrs. Goulandris is referenced throughout the thesis. The literature review is also · distributed through the thesis at the points where it is relevant and especially in Chapter V which discusses the literature on the history and conception of natural history museums as points of access to the 'real' world of nature. . This thesis is set in a conceptual but also in a historical conte:r:t, as indeed were the ambitions of the founders of the Goulandris Museum. It was the first natural history museum in Greece, and the Qoulandrises sought to situate their new project within both European traditions of natural history museums ' and the traditions of archaeological and classical collections, which had until then dominated the Greek understanding of the purposes of museums. Drawing on these sources, the Goulandris Museum has arrived at its latest scheme which deploys ideas of nature and of culture to shape a very particular identity within Greece ' and to engage and infOlID its visitors.

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28

Bernard, Erin Cecilia. "History Truck Unlimited: The New Mobile History, Urban Crisis, and Me". Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/310312.

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History
M.A.
The Philadelphia Public History Truck is a nearly two-year-old mobile museum project which creates interdisciplinary exhibitions about the history of Philadelphia neighborhoods with those who live, work, and play within the places and spaces of the city. Since I founded the project in 2013, I have navigated partnerships with both grassroots organizations and larger institutions and faced a wide-ranging gamut of experiences worthy of examination by public historians concerned with power and production of history as well as practice-based reflexivity. The first half of this thesis documents my key reflections of the first eighteen months of work and serves as a primary source on the project. This paper also places History Truck into a long historiography of both public history and mobility in the United States of America to explain the emergence of what I am calling the New Mobile History, an emerging form of practice in which community members and public historians work together from the onset of project development using ephemerality and movement as a tool for creativity and civic-driven history making. By analyzing oral history interviews with Cynthia Little and Michael Frisch, I argue firstly that Philadelphia was the birthplace of this New Mobile History. Secondly, I posit that for this New Mobile History to continue evolving, public historians must balance digital work and relationship-based process to create exhibitions which directly serve communities of memory. Lastly, I consider one possible future for History Truck, including its transformation from project to nonprofit organization manned by post-M.A. fellows who have the ability to work passionately on city streets and with new media.
Temple University--Theses

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29

Napier, Ellen Bethany. "Thomas Struth's Museum Photographs and the Textual Experience of Photography". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364223682.

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30

Maddern, Joanne F. "Spaces of history and identity at Ellis Island Immigration Museum". Thesis, Aberystwyth University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558822.

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31

DiBenigno, Mariaelena. "Ghosts In The Museum: The Haunting Of Virginia’s Public History". W&M ScholarWorks, 2020. https://scholarworks.wm.edu/etd/1616444536.

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Ghosts haunt historic sites in metaphorical and literal ways. Visitors, regional communities, museum staff, historic preservationists, interpreters, anthropologists, archeologists, folklorists, tourism bureaus, and schoolchildren tell the stories. Some scholars attribute these specters to the nation’s repressed histories as they disrupt linear narratives of American progress. Ghost stories tend to depict histories missing from archives constructed by universities, historical societies, and other research institutions. Public history’s ghost stories also highlight the field’s long practice of delineating race through the creation of a specific American history. This project illustrates how ghost stories operate in museum discourse and how they reach out through a myriad of interpretive efforts: in exhibit panels, on guided tours, via tourist publications and online articles, with first-person actor interpretation, through program development and architectural reconstruction. These “new histories” require museums and public history sites to acknowledge openly who and what haunts their institutional narratives and the larger public discourse. Public history’s ghosts gesture towards the layered histories at locations obsessed with mythic white nationalism. Using Virginia’s sites of public history, this dissertation explores how ghostly discourse preserves lesser-known histories only recently shared at museums. Despite their problematic elements, ghost stories document how the public understands historic sites and who is missing from museum interpretations. The sites examined are varied, from physical locations to literary fictions, and transdisicplinary. Ultimately, “Ghosts in the Museum” argues that an acknowledgement of ghosts benefits the project(s) of public history. It re-places narratives of enslavement, genocide, dispossession, and violence on commemorative landscapes initially designed to privilege whiteness.

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32

Marsh, Hannah. "Memory in World War I American museum exhibits". Thesis, Kansas State University, 2014. http://hdl.handle.net/2097/18813.

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Master of Arts
Department of History
Sue Zschoche
As the world enters the centennial of World War I, interest in this war is reviving. Books, television shows, and movies are bringing the war into popular culture. Now that all the participants of the war have passed away a change is occurring in in American memory. The transition from living to non-living memory is clearly visible in museums, one of the main ways history is communicated to the public. Four museums are studied in this paper. Two exhibits built in the 1990s are in the 1st Infantry Division Museum at Fort Riley, Kansas, and the Chemical Corps Museum in Fort Leonard Wood, Missouri. The other two exhibits are newer and are the National World War I Museum in Kansas City, Missouri and the Cantigny 1st Infantry Division Museum in Wheaton, Illinois. Findings reveal that exhibits become more inclusive over time to civilian bodies, wounded bodies, and the specific image of “Americans killing Germans bodies.” However, even though there is change some things are turning into myths. The icon of the American soldier as a healthy and strong man willing to sacrifice his life for the country is still a major theme throughout all the exhibits. Finally, there are several myths that America has adopted from its allies. The icons of the bandages over the eyes from the chemical attacks and the horrors of the trenches are borrowed, to a certain extent, from America’s allies. The Americans were only in the war for a limited time and borrowed cultural memories to supplement their own. The examination of the four museums is important because this transition will happen again and soon. Museums must be conscious of the changes occurring during this transition in order to confront the challenges.

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Lee, Bethany Tyler. "The Museum of Coming Apart". Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11000/.

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This dissertation comprises two parts: Part I, which discusses use of second person pronoun in contemporary American poetry; and Part II, The Museum of Coming Apart, which is a collection of poems. As confessional verse became a dominant mode in American poetry in the late 1950s and early 60s, so too did the use of the first-person pronoun. Due in part to the excesses of later confessionalism, however, many contemporary poets hesitate to use first person for fear that their work might be read as autobiography. The poetry of the 1990s and early 2000s has thus been characterized by distance, dissociation, and fracture as poets attempt to remove themselves from the overtly emotional and intimate style of the confessionals. However, other contemporary poets have sought to straddle the line between the earnestness and linearity of confessionalism and the intellectually playful yet emotionally detached poetry of the moment. One method for striking this balance is to employ the second person pronoun. Because "you" in English is ambiguous, it allows the poet to toy with the level of distance in a poem and create evolving relationships between the speaker and reader. Through the analysis of poems by C. Dale Young, Paul Guest, Richard Hugo, Nick Flynn, Carrie St. George Comer, and Moira Egan, this essay examines five common ways second person is employed in contemporary American poetry-the use of "you" in reference to a specific individual, the epistolary form, the direct address to the reader, the imperative voice, and the use of "you" as a substitute for "I"-and the ways that the second-person pronoun allows these poems to take the best of both the confessional and dissociative modes.

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34

Neville, Pamela Ayers. "Richard Pynson, Kings Printer (1506-1529) : printing and propaganda in early Tudor England". Thesis, University of London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294267.

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35

Hughes-Skallos, Jessica M. "Displaying Archaeology: A Look into the Representation of Archaeology in United States Natural History/History Museums". University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384850209.

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36

Schachnow, Ellionore. "The Staging of Nynäs Castle : From Private Home to Museum". Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193261.

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The thesis examines the reason behind the overtaking of Nynäs castle by the State Art Museums and how Nationalmuseum choose to stage the period rooms during 1984-2020 and how it relates to contemporary trends within museology. Furthermore, the thesis examines possible similarities in how the National Trust stages their historic houses. The thesis emanates from Emma Barker’s art historical approach to critical studies of the historic buildings owned by the Trust and discusses the possibilities and limitations of the historic house museums in the context of house museology. This thesis also discusses the differences between an ethnographic and an art museum in a historic house context and the function of the period room. The State Art Museum managed to receive funds for the acquisition of Nynäs collections through private donations and funds from the State. The original intention was to stage the interior rooms as it was found, and this approach partly resembles the staging of a house owned by the National Trust. This approach was questioned by Nationalmuseum during 2008 and they initiated a project of re-arranging the rooms which resulted in a chronological display. The display of the kitchen and service areas since the opening can relate to a rising interest in New Museology.

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37

Holmes, Elizabeth Geesey. "The Virginia Museum of Fine Arts: its Founding, 1930-1936". W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625838.

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38

Warneck, Dorothea. "Natalia Berger: „The Jewish Museum. History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem". HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2020. https://slub.qucosa.de/id/qucosa%3A71019.

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Berger, Natalia: The Jewish Museum. History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem [= Ben-Rafael, Eliezer/Gorny, Yosef/Liwerant, Judit Bokser (Hg.): Jewish Identities in a Changing World, Band 29], Leiden/Boston: Brill 2018, 584 S., ISBN: 978-90-04-35387-9, EUR 160,00. Besprochen von Dorothea Warneck.

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39

Maust, Theodore. ""Most Historic Houses Just Sit There"| Activating the Present at Historic House Museums". Thesis, Temple University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10793092.

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Historic house museums (HHMs) are contradictory spaces, private places made public. They (often) combine the real with the reproduction. Drawing from object reverence, taxonomy, and tableaux over a century and a half of practice, the American HHM arrives in the present as a Frankenstein's monster of nostalgia.

Chamounix Mansion has been a youth hostel since 1964. It has also been a historic house museum, though when it became one and when—if—it ever stopped being one is an open question. Chamounix is a space where the past, present, and future all share space, as guests move through historic spaces, have conversations about anything or nothing at all, and plan their next day, their next destination, their next major life move. It is a place that seems fertile for meaning-making. It also provides a fascinating case study of what HHMs have been and what they might become.

The Friends of Chamounix Mansion employed the methods of other HHMs as it tried to achieve recognition as an HHM in the 1960s, but by the 1980s, they began claiming the hostel’s usage as another form of authenticity.

As HHMs face a variety of challenges today, and seek to make meaning with visitors and neighbors alike, the example of Chamounix Mansion offers a case study of how embracing usage might offer new directions for meaning-making.

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40

Naile, Meghan Theresa. "Like Nixon to China: The Exhibition of Slavery in the Valentine Museum and the Museum of the Confederacy". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1972.

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This study analyzes two successful exhibitions on American slavery in the South: In Bondage and Freedom: Antebellum Black Life in Richmond, Virginia, 1790-1860 by the Valentine Museum and Before Freedom Came: African American Life in the Antebellum South by the Museum of the Confederacy. It puts the exhibitions in the context of the social history movement, and explains the difficulties exhibiting a sensitive topic. It examines the creation of the exhibitions, the controversies because of the subject, both real and potential, and the overwhelmingly positive reaction.

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41

Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.

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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.

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42

Cook, Bettye Alexander Contreras Gloria. "A chronological study of experiential education in the American history museum". [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-5190.

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43

He, Jingyu. "User assisted archive document analysis for the UK National History Museum". Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437146.

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44

Loury, Sharon D. "History of Nursing and Partnership with the Museum at Mtn. Home". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/8191.

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45

Cook, Bettye Alexander. "A Chronological Study of Experiential Education in the American History Museum". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5190/.

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This study traced the evolution of experiential education in American history museums from 1787 to 2007. Because of a decline in attendance, museum educators need to identify best practices to draw and retain audiences. I used 16 museology and history journals, books, and archives of museums prominent for using the method. I also interviewed 15 museum educators who employ experiential learning, one master interpreter of the National Park Service, and an independent museum exhibit developer. Experiential education involves doing with hands touching physical materials. Four minor questions concerned antecedents of experiential learning, reasons to invest in the method, the influence of social context, and cultural pluralism. Next is a review of the theorists whose works support experiential learning: Dewey, Piaget, Vygotsky, Lewin, Bruner, Eisner, Hein, and David Kolb plus master parks interpreter Freeman Tilden. The 8 characteristics they support include prior experiences, physical action, interaction with the environment, use of the senses, emotion, social relationships, and personal meaning. Other sections are manifestation of experiential learning, transformation of history museums, and cultural pluralism in history museums. The research design is descriptive, and the procedure, document analysis and structured interview. Findings are divided by decades after the first 120 years. Social context, examples of experiential learning, and multicultural activities are detailed. Then findings are discussed by patterns of delivery: sensory experiences, actions as diversion and performance, outreach of traveling trunks and of organized activity, crafts as handwork and as skills, role-playing, simulation, hands-on museum work, and minor patterns. The decline of involvement of citizens in the civic and cultural life of the community has adversely affected history museums. Experiential learning can stop this trend and transform museum work, as open-air museums and the National Park Service have demonstrated. In the future history museums may include technology, a more diverse audience, and adults in its experiential educational plans to thrive. Further research is needed on evaluation, finances, and small museums.

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46

Southwood, Helen. "A cultural history of Marischal Anthropological Museum in the twentieth century". Thesis, University of Aberdeen, 2003. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU602059.

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This thesis is the first in-depth exploration of the social, cultural and historical development of Marischal Museum throughout the twentieth century. The study explores a range of museum and archive sources to reconstruct the Museum's cultural history, and to highlight significant issues which make the Museum an important case study in historical museum studies. This thesis examines the changing nature of museums, and in particular, the shifting relationship between anthropology, empire and museums. Museums are considered here as hubs at the centres of complex and geographically wide-ranging social networks. Wider political and cultural changes are seen to be expressed in the architectural structure, collections and displays of the Museum. I explore these changes through an examination of the exhibition galleries, processes of acquisition, storage, classification and display from the early twentieth century to the present day (2003). A combination of cultural historical, anthropological and museological approaches are drawn upon to provide an in-depth analysis of Marischal Museum's internal social relations and cultural practices over time. The thesis argues that museums are shaped in important ways by their social, cultural and political contexts, as well as by the persons who create and use them. The internal processes of museums need to be understood as cultural historical processes involving social contacts, patterns of acquisition, classification, documentation, and decisions about gallery architecture and display. Analysis of these processes can shed light on public exhibitions, and the contemporary role of museums in society. It is argued that museums are more than repositories of material objects. Instead, the materiality of the museum sites, including their spatial dimensions and their diverse collections, is entirely bound up with the social relations of the people who have shaped the institution over time, and who continue to be referred to in the present practices at the Museum. The past informs the present in museums as they draw upon and reinterpret their histories.

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47

Seakins, Amy Jane. "Meeting scientists : impacts on visitors to the Natural History Museum, London". Thesis, King's College London (University of London), 2015. http://kclpure.kcl.ac.uk/portal/en/theses/meeting-scientists(7365644c-734b-4970-a61e-4d3597dd803e).html.

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This thesis focuses on how face-to-face interactions with scientists, during a visit to a natural history museum, can have an impact on how visitors conceptualise and identify with researchers. The study draws together the literature on attitudes to science and perceptions of scientists, whilst also focusing on identity development in individuals, using the concept of interest to study impacts on engagement. The study adopted a qualitative approach primarily involving interviews with 81 adult visitors and 38 A-level students (aged 16-18) meeting scientists in museum-based discussion events. Participants were interviewed before, immediately after, and two months after meeting scientists to explore longer-term impacts. Meeting scientists had an impact on visitors’ and students’ identification of and with scientists. Visitors and students held conceptual ecologies around perceptions of scientists, drawing on multiple ideas about scientists concurrently. Visitors and students identified more closely with scientists following their interaction, recognising common experiences, and visitors also developed a lasting interest in scientists and their career histories. I propose the notion of scientists as ‘everyday experts’: knowledgeable individuals with clear areas of expertise who are also approachable and accessible. A ‘midway’ approach to public engagement is recommended to facilitate the presentation of scientists as ‘everyday experts’; an intermediate approach between a deficit, one-way communication and a two-way dialogue between scientists and the public. Meeting scientists is shown to bring ‘added value’ in terms of increasing scientific literacy: perceptions of scientists became more positive and less stereotypical and participants learned about particular areas of science as a result of the session. Meeting scientists was also shown to provide ‘added value’ in promoting science engagement: visitors reported continued engagement with science in the delayed post-session interviews two months after the visit. I discuss the implications of my findings for research and practice, with the aim of further understanding how to develop scientific literacy and engagement.

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48

Tolley, Rebecca. "Review of Chicago History Museum, Digital Collection: Costume and Textile Collection". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/5646.

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49

Hsieh, Pei-Yao y 謝佩瑤. "Museum, Notions of History and Culture：A Case Study of the Hong Kong Museum of History". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/buq4rx.

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50

張秀雯. "The study of museum poster:Case of national history museum(1996-2002)". Thesis, 2004. http://ndltd.ncl.edu.tw/handle/50888659807609317815.

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碩士
臺北市立師範學院
視覺藝術研究所
92
This researcher has explored the vault of the National Museum of History (NMH) into a collection of 187 pieces of exhibited posters displayed between a range period of 1996 and 2002. She then, after photocopying, rearranging, and documenting the files, categorizes them, by K. J. (Kawakita Jiro) method, into six groups, namely, of painting, housewares, photography, architecture & sculpture, extended education, and floristry. She also classifies and explains them by graphics, wishfully, for the reference of later studies. All through the chapters, the researcher, with the aid of literature reviews or of the interviews with former poster designers of the NMH and with contemporary vision communications professionals, comes to realize the impacts those old poster-related designing skills, procedures, circumstances, and shifting times had on the processes, elements, and styles of poster designing. And she also hopes, by analyzing the old posters of the NMH, the viewers will be able to develop some applicable and characteristic personal styles for poster designing. Furthermore, through the use of questionnaires and cross analysis, she hopes, they will also be able to understand the extent to which the NMH posters and the populace have been interrelated with one another. Then, the result of this study reveals that the NMH visitors have been mostly females, the majority of whom comes from the school, the military, and the public sector, which also includes the veterans. Judging by their motivations, it shows that the “personal interests” category tops the rank of the investigation on the whole, with the “relaxation & amusement” category running up, and which means a visit of the NMH has gradually become one of the options the general public will take as a way of both relaxing and amusing themselves. On the other hand, it also turns out that the percentage of the NMH visitors receiving the information about the NMH exhibitions through the posters runs the highest, which reaffirms the significance of posters as a way of informing the general public of the exhibitions. At the same time, with its increasing popularity and convenience, the Internet has caught up with other media in terms of the effective and efficient advertisements. Additionally, when asked how they feel greatly impressed with the NMH posters, the interviewees pick up the “clear & accurate literacy”, the “attractive illustration”, or the “radiant coloring” categories, etc. as their responses, and that signifies plain and simple style of diction with clear and forceful messages is prerequisite with a successful poster. Finally, this study also explores the marketing strategies which most the museums have recently employed to cope with the trendy needs for their individual future developments, and through which they hope to achieve their goals of effective and efficient advertising communicatively with appealing content of clearer and more accurate literacy. Accordingly, this study suggests as follows: (1) the establishing of an institutional image: Poster designers, besides spreading the information about the museum exhibitions to the public, also work on the establishing of an ”image” for the museums, thus creating a sense of the public ”loyalty” to their particular favorite museums. This is because any institution, striving to acquire an outstanding position among numerous both public and private historical or art museums, has first to own a personality. To achieve this, it has to seek an identity, without which the institution is in no position to advertise itself. (2) the enhancing of a functional poster: Poster designers, faced with the problem of the disposable quality of a poster, integrate such functions as that of a calendar and that of a poster into one, thus enhancing the functions of their design and thereby the public interests in preserving it. By collecting such particular posters, the museum- goers will furthermore develop their sense of identity and unity with the museum. (3) the selecting of a hallmark: The NHM, acknowledging the limitations on the poster locales, negotiate with or rent a high-rise site in the neighborhood to encourage better advertising effect with stronger visual appeals, and also to establish a new hallmark to guide the museum-goers to their ultimate goal. By doing this, the NHM better informs and reminds those pilgrims of its exhibitions for the primary purpose, and, in the meantime, initiates and nurtures the potential art lovers with multiple visual enjoyments. And (4) the improving of a storage facility: The NHM, when considering on its future expansion project, take the former posters into as much account as other artistic heritages and preserve them more securely and more systematically, as in the case of an X-type poster showcase which allows its contents with a more spacious storage and thus benefits the potential researchers with more sound and concrete references, and with the aid of which the contents enrich themselves with multiple information other than literary descriptions, to make the viewers recognize the historical legacy of the NHM exhibitions.

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Tesis sobre el tema "Museum of Printing History"

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