Tesis sobre el tema "Paulus Museum"
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Canas, Adriano Tomitão. "MASP: Museu laboratório. Projeto de museu para a cidade: 1947-1957". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-17062010-092757/.
Texto completoThe present thesis object of research is the Museu de Arte de São Paulo Assis Chateaubriand MASP and its insertion in the city of São Paulo, during the period of the first 10 years of activities in its primary headquarters at Sete de Abril Street. The main goal of the study is to understand the Art Museum from the operative perspective, as a modern laboratory, throughout the several activities proposed by Pietro Maria Bardi and Lina Bo Bardi at the construction of a modern identity for the museum, counting with the collaboration of foreign architects and artists. Also aims to identify the existing relations between the speeches of its creators and the architect speeches within the international debate about the role of the museums and modern architecture at post war cities, context in which the musicological project proposed to MASP is comprehended inserted in the international discussions related to the reassessment of the role of museums in the cities.
Servitja, Tormo Lada. "Els visitants infantils dels museus gironins en el marc d'una visita familiar i no organitzada". Doctoral thesis, Universitat de Girona, 2012. http://hdl.handle.net/10803/101526.
Texto completoEl present treball de recerca consisteix en estudiar i analitzar les pautes de comportament objectivables del visitant lliure entre 5 i 12 anys d’edat, que visita de forma no organitzada els museus de la ciutat de Girona. Així, mitjançant la combinació de diferents metodologies per a l’obtenció de dades (enquesta, observació directe no participant i llenguatge simbòlic a partir de resposta escrita autoadministrada i oferta), hem sabut de quina forma aquests interaccionen amb els materials, com es relacionen amb els diferents membres del grup, com utilitzen els materials complementaris a la visita, quin recorregut fan i com fan la visita a les sales, quins textos llegeixen, a quines Unitats d’Atenció presten més interès, quins colors els atrauen més, quins efectes en el seu comportament pot tenir la il•luminació, el soroll, la temperatura ambiental, quines son les seves preferències, i a trets generals, quins son els perfils de famílies que visiten els museus gironins.
Castro, Diana Costa de. "Um desejo de eu[não] viver sem me notar: o museu como instituição pedagógica emancipatória". reponame:Repositório Institucional do FGV, 2012. http://hdl.handle.net/10438/9911.
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Museums are organizations which are passing trough a moment of crisis and, therefore, museology tries to redefine them, changing to attend a social function by means of democratizing culture. They leave behind the notion of temples and collections of objects to assume a role that modifies the structure of society and the cities, without a theory that addresses this new role. To overcome these contradictions is the new social goal of these organizations and their way of being and acting is the main motivation of this paper which aims to analyze how contemporary museums may constitute a primary locus for liberating praxis through its pedagogical character. We believe that contemporary museums may be 'someone' with whom society can count on their process of emancipation. For this, the role of these organizations should change; favoring democratic rather than economic issues and constitute themselves as a privileged space for emancipation by education. For this reason we make an adaptation of Paulo Freire's pedagogical method for museums, highlighting four main stages: the unveiling of self-knowledge and the reality from the exhibitions and research; critical thinking about the unveiled knowledge; transformation of the object into subject / praxis; exposure of the denounce or announcement of a better world. We believe that this process, strongly grounded in critical thinking and mediated by love (read as a human acting with respect and dialogue) can delimit the museum in its new role as a privileged place where part of the emancipatory process happens. However, contemporary museums may constitute a prime locus for emancipatory praxis through its pedagogical potential. It requires more than applying a method, but means to reformulate completely this organization structure and how it understands itself.
Os museus são organizações que se encontram em crise e a museologia procura redefini-los a partir de sua função social democratizante por meio da cultura. Eles deixam para trás a noção de templos e coleções de objetos para assumirem um papel que modifica a sociedade e a própria estrutura das cidades, sem uma teoria que contemple esse novo papel. Suplantar as contradições existentes é o novo objetivo social dessas organizações e sua forma de ser e agir é a principal motivação deste ensaio que tem como objetivo final analisar como os museus contemporâneos podem se constituir em um local privilegiado para a práxis libertadora por meio de seu caráter pedagógico. Acreditamos que assim os museus contemporâneos podem ser 'alguém' com quem a sociedade pode contar em seu processo emancipatório. Para isso o papel dessas organizações deve se transformar, assumindo um viés democrático em lugar de privilegiar questões econômicas e se constituindo em espaço privilegiado para educação libertadora. Para isso faz-se uma adaptação do método pedagógico de Paulo Freire para os museus, destacando quatro momentos principais: desvelamento do conhecimento de si e da sua realidade pelas exposições e pesquisas; crítica acerca do conhecimento desvelado; transformação do objeto em sujeito / práxis; exposição da denúncia ou do anúncio de um mundo melhor. Acredita-se que esse processo, fortemente embasado na crítica e mediado pelo amor possa delimitar o museu em seu novo papel como espaço privilegiado onde acontece parte do processo emancipatório. No entanto, os museus contemporâneos podem se constituir em um local privilegiado para a práxis libertadora por meio de seu potencial pedagógico se essas organizações mais do que aplicarem um método libertador se reformularem completamente.
Leonel, Priscila de Medeiros Pereira. "Um encontro com a mediação cultural : 40 Museus em 40 semanas /". São Paulo, 2017. http://hdl.handle.net/11449/150744.
Texto completoBanca: Mario de Souza Chagas
Banca: Mirian Celeste Martins
Resumo: Desenvolvo um estudo sobre meu encontro com a mediação cultural através de um projeto chamado "40 museus em 40 semanas", no qual visitei 40 museus da cidade de São paulo, de diferentes tipologias, entre os anos de 2013 e 2014 . Neste projeto fui propositora, idealizadora, participante e pude me perceber no papel de mediadora destes espaços, mediadora do público, mediadora de uma ideia que se revelou como um intervenção artística na cidade. Esta proposta de adentrar os espaços museológicos, conhece-los e discutir a experiência, é também uma proposta de aproximação do patrimônio da cidade que me levou a pensar sobre identidade cultural e territorialidade. Os textos e imagens com os quais nos deparamos logo a seguir são caminhos de analise neste processo de pesquisa que foi tão profundo e me levou a descobrir e ampliar os significados de museu, memória, patrimônio e mediação cultural.
Abstract: I develop a study on my encounter with cultural mediation, through a project called "40 museums in 40 weeks", in which I visited 40 museums of the city of São paulo, of different types, between the years of 2013 and 2014. In this project I was a proposer, idealizer, participant and I was able to perceive myself in the role of mediator of these spaces, mediator of the public, mediator of an idea that turned out to be an artistic intervention in the city. This proposal to enter the museological spaces, to know them and to discuss the experience, is also a proposal of approximation of the patrimony of the city that led me to think about cultural identity and territoriality. The texts and images that we come across are ways of analysis in this research process that was so profound and led me to discover and extend the meanings of museum, memory, patrimony and cultural mediation.
Mestre
Arruda, Beatriz Cavalcanti de. "O Museu da Cidade de São Paulo e seu acervo arquitetônico". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-30012015-144147/.
Texto completoThe Museu da Cidade de São Paulo is located in buildings of historical and architectural interest, distributed through the urban fabric of the city. This architectural heritage - the physical structure and at the same time one of the platforms for actions and programs of the museum - is currently composed by the Solar da Marquesa de Santos; Casa nº 1 or Casa da Imagem; Capela do Morumbi; Casa do Bandeirante; Casa do Sertanista; Casa do Tatuapé; Casa do Grito; Sítio da Ressaca; Sítio Morrinhos; Casa Modernista da Rua Santa Cruz; Monumento à Independência e Capela Imperial; Beco do Pinto e Chácara Lane. This dissertation addresses the formation and history of this multinucleated institution. The research proposes the analysis of the relationships involving the documentary nature of these architectural objects and its museum use. This study intends to understand the fact museum \"Museu da Cidade de São Paulo\"; examine the phenomenon of museum of the management (protection and communication) of the Museum\'s architectural collection, and identify, in the musealization process, the approach of the architectural artifact.
Kiefer, Flavio. "MAM Museu de Arte Moderna do Rio de Janeiro MASP Museu de Arte de São Paulo : paradigmas brasileiros na arquitetura de museus". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 1998. http://hdl.handle.net/10183/1313.
Texto completoSantos, Andréa Maria Zabrieszach Afonso dos. "A Casa do Bandeirante como espaço museológico (1954-1964)". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-25102016-105146/.
Texto completoThis dissertation aims to approach, historically, the physical and symbolic construction of The Bandeirante House, an evocative museum of the time of \"bandeiras\" (former Brazilian settlers). It was inaugurated in 1955, at the end of the celebrations of the IV Centenary of the City of São Paulo, with its restoration being carried out under the responsibility of the organizing committee of those festivities. The first of the \"historical homes\" belonging to the city hall, it is part of the current architectural collection of São Paulo\'s city museums. The time covered in this project extends from 1955 to 1964, during the first period of the Museum, under the direction of Paul Camilher Florençano, when this cultural space was designed to present a scenario of the way of living in São Paulo during the colonizer period. At that moment, The Bandeirante House conceived heroically the \"Bandeirante Cycle\", dealing with as a myth by the presentation of an exhibition by period room, conceptual guidelines of the exhibition held until 1978. The goals of this dissertation are to analyze the conceptual and institutional creating process of the Bandeirante House, to understand and document its acquisition policy and to discuss the first long term exhibition of the institution, based the \"sertanista myth\" and its museum references.
Plagens, Emily S. Hafertepe Kenneth. "Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum /". Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.
Texto completoBarbosa, Marina Martin 1985. "MASP e MAM : percursos e movimentos culturais de uma época (1947-1969)". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281319.
Texto completoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas e Università Ca' Foscari Venezia
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Resumo: Esta pesquisa trata de que forma se estabeleceram as redes culturais na cidade de São Paulo a partir do pós-Segunda Guerra Mundial, mediante análise dos percursos do Museu de Arte de São Paulo (MASP) e do Museu de Arte Moderna de São Paulo (MAM), com especial atenção aos diálogos travados por seus comitentes e idealizadores, representados nas figuras de Assis Chateaubriand, Pietro Maria Bardi e Francisco Matarazzo Sobrinho. O período histórico abordado corresponde ao da primeira fase de funcionamento dos museus em questão, que compreende desde suas fundações à reaberturas em novas sedes na Avenida Paulista e Parque Ibirapuera (1947-1969). O MASP e o MAM se afirmaram em um momento de plena transformação física, demográfica, econômica e social da cidade, caracterizada pela presença marcante de imigrantes, em confluência com o desenvolvimento dos meios de comunicação de massa. Inseridos em um clima de intensa colaboração internacional, esses museus projetaram o país, a cidade e a si mesmos dentro do cenário artístico e cultural internacional
Abstract: This research covers the process of establishing cultural connections inside the city of São Paulo beginning during the post-World War II period, by analyzing the directions taken by the Museum of Art of São Paulo (MASP) and the Museum of Modern Art of São Paulo (MAM). Special attention is given to the nterconnections established by their clients and creators, such as Assis Chateaubriand, Pietro Maria Bardi and Francisco Matarazzo "Ciccillo" Sobrinho. The historical period analyzed, 1947 to 1969, encompasses the formative activities of these two museums, spanning from the drafting of their constitutions to reopening in new headquarters on Avenida Paulista and at Ibirapuera Park. The success of MASP and MAM coincided with the development of mass media during a period of complete physical, demographical, economic and social transformations in the city of São Paulo, spurred by the strong presence of immigrants. Inserted into an atmosphere of deep international collaboration, these institutions vaulted the nation, the city and the museums themselves into the global artistic and cultural scene
Doutorado
Politica, Memoria e Cidade
Doutora em História
Teixeira, Regina Pinheiro Penteado. "O MAM visto pelos professores: marcas de distinção". Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/10799.
Texto completoThe theme of this work, the relationship between the museum and the school, emerges from the fact that the museum offers education and the school absorbs such an offer. The problem of the proposed research branches from the sociologist Pierre Bourdieu s investigations on the relationships among the cultural capital, the geographical location and the access to cultural objects. The research s subjects are elementary school teachers from public and private schools in São Paulo county, who joined the Programa de Visitação às Exposições of the Museu de Arte Moderna de São Paulo (MAM) in 2009. We investigated how the teacher s social position in the teaching hierarchy and the location of the school reflect the professional s attendance to such visitation program. A second question concerns the assessment of the teacher s opinions about the visitation with his students. The aim of this study is to query if the teacher s opinions about the visitation to the museum reflect his social position. To achieve such a goal one hundred (100) teacher s responses to an assessment form used by the MAM s Setor Educacional - Relatório de impressões de visitas - professor -, were analyzed. The research hypothesis is that the teacher s opinions about the visitation to the museum is in line with the hierarchical position he occupies within his group, position which is the overall result of his movability within the cultured culture, his cultural capital and his working conditions. For data analysis we rely mainly on the notion of cultural capital coined by Pierre Bourdieu. To assess the quality of life, the county s Índice de Desenvolvimento Humano Municipal de São Paulo (IDH-M) was used. The results point to teacher s hierarchical differences in the geographical distribution between public and private schools. The teacher's opinions about the visitation to the art museum revealed traces of teacher s hierarchical distinction between public and private school systems, and less frequently between the levels of education in which the teacher works
O tema desse trabalho, a relação entre o museu e a escola, emerge da constatação de que o museu oferece educação e que a escola absorve tal oferta. O problema de pesquisa proposto decorre dos questionamentos do sociólogo Pierre Bourdieu a respeito da relação entre o capital cultural, o fator geográfico e o acesso aos bens culturais. São sujeitos desta pesquisa os professores do ensino fundamental da rede pública e privada do município de São Paulo que aderiram ao Programa de Visitação às Exposições do Museu de Arte Moderna de São Paulo (MAM), no ano de 2009. Investigamos como a posição social ocupada pelo professor na hierarquia docente e a localização geográfica da escola refletem na adesão deste profissional a tal programa. Uma segunda questão incide na apreensão do julgamento que o docente faz da visita ao museu de arte com o seu grupo. O objetivo deste estudo é apreender se o julgamento do professor sobre a visita espelha sua posição social. Para atingir tal objetivo foram analisadas cem (100) respostas dos professores no Relatório de impressões de visitas - professor , instrumento usado pelo Setor Educativo do MAM. A hipótese de pesquisa com a qual trabalhamos é a de que o julgamento do professor sobre a visita ao museu é consonante com a posição hierárquica que ocupa no grupo, fruto do seu trânsito na cultura culta, do seu capital cultural e das condições de trabalho docente. Para proceder à análise dos dados, nos apoiamos principalmente na noção de capital cultural cunhada por Pierre Bourdieu. Para aferir a qualidade de vida distrital foi empregado o Índice de Desenvolvimento Humano Municipal de São Paulo (IDH-M). Os resultados encontrados apontam para disparidades hierárquicas de distribuição geográfica das escolas públicas e particulares. O conteúdo da opinião do professor sobre a visita ao museu de arte revelou traços de distinção hierárquica docente entre as redes de ensino e, em menor freqüência, entre os níveis de ensino no qual o professor atua
Bemvenuti, Alice. "Museus e educação em museus - história, metodologias e projetos, com análises de caso : Museus de Arte Contemporânea de São Paulo, Niterói e Rio Grande do Sul". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/49164.
Texto completoAt this work of master degree it was done the historic analysis of museums and of the education at Brazilian museums on the 19th and 20th centuries, noticing strategies that stimulate the contact of the public with the original work of art. Isolate educative actions from the beginning of museum history remain until today, even so there are some organized sectors developing systemized educative actions, by the use of current methodologies of art education, with the lecture of visual codes, pedagogical activities of reception and presentation to the public, including the use of strategies of aesthetic experience given by the proper works of art. It is registered the analysis of MAC-USP, MAC-Niterói and MAC-RS, presenting the history from their beginning to their specific methodologies and educational programs. It is also commented the historic transformation of the museums functional activities since ancient times up to modern and contemporary art museums in Brazil. It is observed that historic events do not have enough linearity that may lead to foreseen results or consequences. At last, it is analyzed the political role of the educational action at the museums, considering its educational character and the urgent need to open the space of the museums to people, thus providing the access to the original works of art and the idea that museum is for all.
Pintado, Ricardo Luis Sampaio. "A imaginação museal de Lina Bo Bardi: expografias (1947-1968)". Universidade Federal de Pelotas, 2018. http://guaiaca.ufpel.edu.br:8080/handle/prefix/4198.
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Sem bolsa
Esta tese trata da museografia desenvolvida pela arquiteta italiana Lina Bo Bardi no período de 1947 a 1968, a partir da instalação do Museu de Arte de São Paulo até a transferência para a sede na Avenida Paulista. Trata também da museografia desenvolvida neste ínterim para o Museu de Arte Moderna da Bahia. Especificamente, analisa a expografia, suas referências e desdobramentos nos museus enfocados. Ao tratar da expografia aproxima-se da arquitetura dos espaços expositivos e dos museus que projetou e instalou. A partir de fontes escritas e registro fotográfico descreve a expografia, seus dispositivos e os locais onde foram utilizados. Pretende-se assim, contribuir para a compreensão das práticas museográficas no Brasil a partir da análise da expografia desenvolvida por Lina Bo Bardi como contribuição para a expansão da imaginação museal no Brasil
This thesis pertains to the museography developed by the italian architect Lina Bo Bardi in the time period of 1947 through 1968, that includes the installation of the São Paulo Art Museum until the transfer to the new building on Paulista Avenue. This thesis also includes the museography developed in this era for the Museum of Modern Art of Bahia. Specifically it analyzes the design of exibits, their references and influences of the São Paulo and Bahia museums. When talks about the design of exibits gets close to the exposition spaces and from the museums she created and designed. From written sources and photographic records it describes the design for exhibits, its devices and where they were used. It's intending to contribute to the understanding of museum practices in Brazil from the analyzes of the exihibition design developed by Lina Bo Bardi as a contribution to the expansion of the museum imagination in Brazil
Corazza, Bianca. "Organizações Sociais de Cultura: um modelo de gestão sob o ponto de vista da Museologia. Um estudo de caso do Memorial da Resistência de São Paulo". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-20102017-082515/.
Texto completoFrom 2005 on, public museums in the State of Sao Paulo started being managed through the Cultural Social Organization Management Model, after the signature of the first Management Agreements between the Social Organizations and the Sao Paulo State Secretary of Culture. Although this management model is controversial, it has been undoubtedly beneficial since it brought advantages, agility and greater transparency to public administration, as well as for the museums and their audiences. None the less, this model finds an interesting space in which qualified museum management is being widely discussed and ever more pressing for museums. This dissertation aims to study and discuss how the Social Organization Management Model was established and structured in the museum field, relating to the museological working chain already in place in museums. For this, will use as a case study the Memorial da Resistência de São Paulo [Sao Paulo Resistance Memorial]. Considering that the museum area has its own dynamics and particularities, and based on the discussions about the integral museum and its social role, which are related to the Memorial da Resistência de São Paulo [Sao Paulo Resistance Memorial] institutional profile, this work intends to put into context the Social Organization Management Model, which has occupied a major role in public administration, but has not yet being studied from a museological perspective.
Toledo, Carolina Rossetti de. "As doações Nelson Rockefeller no acervo do Museu de Arte Contemporânea da Universidade de São Paulo". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-29012016-105805/.
Texto completoThis research analyzes the role of the Nelson Rockefeller donations (1946 and 1950) in the formation of the first collection of the Museum of Modern Art Sao Paulo. This study demonstrates how the donations were part of a broader strategy to bring United States and Brazil closer together through artistic initiatives during the Post-war period. This research gives a brief overview of the role of Nelson Rockefeller as articulator of the American cultural policy and details the involvement do MoMA employees (René dHarnoncourt) and curators (Alfred Barr, Dorothy Miller and William Lieberman) in the donations. The main purpose of this work is to shed to light over a unique collection, currently part of Museum of Contemporary Art of the University of Sao Paulo that has remained ignored by specialists and unknown by the public.
Santos, Tamira Naia dos. "Fundação Crespi-Prado: trajetória de uma coleção museológica". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-27092016-143828/.
Texto completoThis research studies a private collection, from its gathering, by a couple of the elite of the city of São Paulo, to its publicization, by the constitution of a foundation and the development of exhibitions in similar institutions in the city. The collection in question belongs to the Crespi-Prado Foundation, an institution created in 1975, by the initiative of Renata Crespi, widow of Fábio da Silva Prado (mayor of São Paulo between 1934 and 1938), to promote the Arts and Culture and to safeguard the collection built by the couple. Renata Crespi, daughter of an important Italian industrialist immigrated to Brazil, and her husband, member of one of the oldest and wealthiest families of the State of São Paulo, materialized the union of the new and old elites, a dimension that is perceived in their collection. Assembled during the first half of the 20th century, such collection is representative of a social practice of collecting that was spreading amongst the elite of the city, and can be considered one of its most extensive examples. To study the gathering of this collection, its institutionalization and its further musealization is the main object of this research, considering the role of the collecting couple to the city elite of their time and the importance of their initiative of creating one of the few foundations of the city to preserve a private artistic legacy through an institution of museological character.
Antolino, Alik Santos. "Arte-educação no museu : um estudo dos setores educativos da Pinacoteca e do Museu de Arte Moderna de São Paulo". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284072.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho apresenta um panorama das ações do setor educativo da Pinacoteca do Estado e do Museu de Arte Moderna de São Paulo. Os documentos históricos das instituições pesquisadas e as concepções teóricas de propostas do ensino da arte em instituições museológicas, nos diferentes períodos históricos, constituíram a base da pesquisa. Foram analisadas as parcerias, projetos e propostas efetivadas pelos setores educativos das instituições pesquisadas. A pesquisadora, valendo-se de sua experiência profissional acompanhou projetos de parceria entre as instituições pesquisadas e escolas públicas estaduais, o que possibilitou observar, verificar e considerar os pontos didáticos favoráveis e desfavoráveis ao público, a partir das ações oferecidas pelos setores educativos dos museus estudados.
Abstract: This paper presents an overview of the actions of the education sector Pinacoteca of the State and the Modern Art Museum of São Paulo. The historical documents of the institutions surveyed and the proposed theoretical concepts of teaching art in museological institutions in different historical periods, formed the basis of the research. We analyzed the partnerships, projects and proposals for effective educational sectors of the institutions surveyed. The researcher, drawing on his professional experience is monitored projects in partnership between the institutions surveyed and state public schools, which allowed observe, verify and consider the teaching points favorable and unfavorable to the public from the shares offered by the educational sectors of museums studied.
Mestrado
Artes Visuais
Mestre em Artes
Nery, Pedro. "Arte, pátria e civilização: a formação dos acervos artísticos do Museu Paulista e da Pinacoteca do Estado de São Paulo (1893-1912)". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-29102015-120926/.
Texto completoThe thesis aims to analyze the formation of the artistic collection of the State of São Paulo, between the years 1893 and1912, dealing with its history under the scope of the establishment of the Republic and the establishment of institutions of storage and exhibition of artistic objects. It sheds light on the first acquisitions for the Museu Paulista (Ipiranga Monument) between 1893 and 1904, the transfer of a portion of these works of art to found the Pinacoteca do Estado de São Paulo in 1905 and the enlargement of the collection of that institution until 1912, when its activities became regulated. These acquisitions have occurred during the economic and political rise of the state of São Paulo, when its leaders began to establish new perspectives on the history of São Paulo in confluence with this privileged situation. The thesis seeks to understand the historicity of acquisitions together with the discourses of the founding fathers of the State of São Paulo, analyzing the historical articulations of building civic narratives through art collections. It also seeks to shed light on connections between the formation of the collection and its several contexts: museological, historiographic and of the Brazilian artistic production. The trajectory of the collection is perceived in relation to a formative nexus of an artistic field in São Paulo, since its constitution allows to also observe movements of the field, until the museum becomes effectively an official part of the art scene in the metropolis. Investigating the historical movement of value assignment and craved public representations by politicians, artists and the public opinion of its time, the research seeks to understand the insertion of the museum\'s collection in the artistic, political and institutional culture of São Paulo between the nineteenth and twentieth centuries.
Di, Gianni Tércio Pereira [UNESP]. "Negociação e convívio cultural: Museu Histórico da Sentinela Paulista, 1957-1972". Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/103101.
Texto completoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Estudo do engajamento de parte da população local na formação do acervo e no processo de institucionalização e consolidação do Museu Histórico do Município de Franca, mediado por José Chiachiri entre 1957 e 1972, com recuo ao período de 1937 a 1940, quando lugares de memória e monumentos históricos foram valorizados sob impacto da visita de caravana da Bandeira. Identifica escolhas entre representações sociais da história local, como critério para avaliar sentido, significado e vestígios de unidade entre semióforos exibidos ao público, denominados de núcleos vetoriais de sentido. Releva procedimentos museais de preservação, investigação e extroversão do acervo recebido evergeticamente. EXPLICITA alianças sociais, políticas, étnicas, institucionais e outras solidariedades e conflitos, conforme testemunhos da época, condição sine qua non para compreensão do espetáculo legado. O corpus documental privilegia as revistas Sertaneja e Vilafranca, dirigidas por José Chiachiri, para reconstituir o espetáculo colocado em cena e em valor no Museu por meio de seu discurso expográfico. Indica, por fim, possibilidades de atualização museológica desse patrimônio herdado
Study of the engagement of part of the local population in the patrimony formation and in the process of institutionalization and consolidation of the Municipal Historical Museum of Franca, mediated by José Chiachiri, between 1957 and 1972, moving backwards to the period of 1937 to 1940; when places of memory and historical monuments were valued under the impact of the Bandeira Expedition Caravan visit. This study identifies choices between social representations of the local history, as a criterion to evaluate sense, meaning and traces of unity between semiopheres exhibited to the public, called vectorial nucleus of meaning. It demonstrates museal procedures of preservation, investigation and extroversion of the patrimony received evergetically. It makes EXPLICIT social alliances, political, ethnical, institutional and others solidarities and conflicts, in conformity with testimonies from the period, sine qua non condition to comprehend the passed on spectacle. The documental corpus grants privilege to the Sertaneja and Vilafranca magazines, managed by José Chiachiri, in order to reconstruct the spectacle on the scene in the Museum by his exposed speech. In conclusion, it indicates possibilities of museum actualizations of inherited patrimony
Resumem: Estudio del desarrollo de parte de la población local en la formación del acervo y en el proceso de institucionalización y consolidación del Museo Histórico del Municipio de Franca, mediado por José Chiachiri entre 1957 y 1972, con reculo al período de 1937 a 1940, cuando lugares de memoria y monumentos históricos fueron valorados bajo el impacto de la visita de caravana de la Bandera. Identifica elecciones entre representaciones sociales de la historia local, como criterio para evaluar sentido, significado y vestigios de unidad entre semióforos exhibidos al público, llamados de nucleos vectoriales de sentido. Releva procedimientos museales de preservación, investigación y extroversión del acervo recibido evergéticamente. EXPLICITA alianzas sociales, políticas, étnicas, institucionales y otras solidaridades y conflictos, según testimonios de la época, condición sine qua non para compreensión del espectáculo legado. El corpus documental privilegia las revistas Sertaneja y Vilafranca, comandadas por José Chiachiri, para recontituir el espectáculo puesto en escena y en valor en el Museo por medio de su discurso expográfico. Indica, por fin, posibilidades de actualización museológica de ese patrimonio heredado
Delaplace, Andréa. "Patrimoine et immigration : Ellis Island Immigration Museum, Museu da Imigração et Musée national de l'histoire de l'immigration : le rôle du musée comme médiateur dans la construction de l'identité (1980-2020)". Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H065.
Texto completoPublic sites increasingly harbor the memories of migrants in their diversity and specificity, making audible and visible versions of the past that had been occluded or simply neglected. Museums increasingly believe that you empower immigrants by remembering and redeeming their memories, which have often been absent from national narratives. Henceforth, the transformation of old facilities that used to receive and accommodate immigrants – such as Ellis Island in New York – into sites that revive their histories. This shows a transformation in attitudes towards immigration, which has changed the status of “diaspora” and has given visibility to a range of cultural identities. Changing migrants’ relationship with their identity: from overseen and transitory memories to recognition and empowerment. The integration of migration history continues to be a challenge within museum spaces and narratives even though it is an increasingly notable feature of the inter- national museum landscape. Thus, it raises a lot of questions such as: What is an immigration heritage? How to exhibit immigration? Do attempts at representing migrants mirror a national paradigm?
Alcântara, Aureli Alves de. "Paulo Duarte entre sítios e trincheiras em defesa da sua dama - a Pré-história". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-17032008-141515/.
Texto completoThis work investigates the development of Archaeology in São Paulo in the years 50 and 60 of the last century from the part of Paulo Duarte and identifies the missions archeological social sciences linked to the museological procedures in order to transform the reality of the approaching period. The study examines the influence of Musée de l´Homme and Paul Rivet in consolidating and preserving institutional archeological models based on ideals of alterity and diversity resulting from the need for social utility and educational museums such as research mechanism, preservation, dissemination and popularization of Archeology, possibility raised by the implantation of scientific archeological researches wedged universally by humanists implemented by Paulo Duarte. The research allows us to understand the historical legacy which Archeology received in the focused period and the scientific implications on the actual questions on Public Archaeology and the Musealization of Archaeology. The analysis highlights the importance for a proper institutional research procedures, protection and archeological communication through the history of the existing institutions or idealized in the period as: the Department of Culture, the Committee of Pre-History, the Institute of Pre-History and Ethnology, the Institute of Pre-History of University of São Paulo, the Museum of American Man and the Paulista Museum.
Nascimento, Ana Paula. "MAM: museu para a metrópole". Universidade de São Paulo, 2003. http://www.teses.usp.br/teses/disponiveis/16/16131/tde-12012005-122318/.
Texto completoThis study examines the initial activities of the Museu de Arte Moderna (MAM) de São Paulo in context of the citys cultural questions after the II World War, showing contributions of actors, who are often placed in the background during the description of early years of the Museum: architects and intellectuals. This choice avoids to analyse the Museum like a main and isolated entity to insert it in an ensemble of several events and institutions generated by whom that participate in the creation of MAM and by possibility of dialogue due to its physical localization: the São Paulos downtown in later 1940 and 1950. The author investigates the relationships between São Paulos cultural environment and MAM construction of a modern project by institutional pathway.
Barbosa, Moroni Tartalioni. "O ensino de história nos museus paulistas, uma proposta pedagógica a partir do projeto Lugares de Aprender da Fundação para o Desenvolvimento da Educação (FDE)". Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/10803.
Texto completoConselho Nacional de Desenvolvimento Científico e Tecnológico
This work aims at analyzing one out of three projects from the program named Cultura é Currículo (Culture is Curriculum): the project Lugares de Aprender (Places to Learn), elaborated according to the curricular guideline proposed by the Education State Secretary of Sao Paulo, in 2008. We tried to comprehend, by investigating the material proposed by the project Lugares de Aprender, which contents and methodologies were offered to Elementary School teachers, in order to guide their educational relations with museums. We have established as a criterion for examining the material aspects related to contents and materiality. Besides the analysis of the material, we tried to comprehend the communication lines and the implementation of the project, which was realized from institutional reports exams provided by FDE. The aim of this procedure was to check the teachers practices with museums and detach the participation of different agents on the achievement of the main objective detached with this project: the colligation between school and culture
Este trabalho se propõe a realizar a análise de um dos três projetos do programa Cultura é Currículo: o projeto Lugares de Aprender, que foi elaborado em consonância com as Diretrizes Curriculares propostas pela Secretaria de Estado da Educação de São Paulo no ano de 2008. Buscamos compreender, a partir da investigação dos materiais propostos no projeto Lugares de Aprender, quais conteúdos e metodologias foram oferecidos aos professores do Ensino Básico com a finalidade de nortear as práticas de ensino destes junto aos museus. Estabelecemos como critério para o exame dos materiais aspectos relacionados aos conteúdos e à materialidade. Além da análise dos materiais, propomos-nos a compreender o circuito de comunicação e implementação deste projeto mediante a investigação dos relatórios institucionais fornecidos pela FDE. O intuito deste procedimento foi verificar a prática dos professores junto aos museus e destacar a participação de diferentes agentes na consecução do principal objetivo destacado com este projeto: a aproximação entre escola e cultura
Junior, Helio Luiz Herbst. "Pelos salões das bienais, a arquitetura ausente dos manuais: expressões da arquitetura moderna brasileira expostas nas bienais paulistanas ( 1951-1959)". Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-19052010-110614/.
Texto completoThis research aims to confront the architectural, town planning and landscape architectural projects exhibited on the five first Exposições Internacionais de Arquitetura (EIA), between 1951 and 1959. In this period, EIA exhibitions were organized by the Instituto de Arquitetos do Brasil (IAB) in share with the Museu de Arte Moderna de São Paulo (MAM/SP). EIA also took part, at that time, of the São Paulo International Biennials, with independent criteria apart from the fine arts section. The investigation proposes to proof that the historical reviews from the 1950´s do not incorporate fundamental themes to understand the Brazilian everyday life in the remarkable decade of Brasília inauguration, living apart some remarkable production carried out by architects, town planners and architecture landscape architects from Rio de Janeiro and São Paulo and also from other cities throughout the country. The forgetfulness of certain professionals, as I want to demonstrate, can be analyzed in a context of the international assertion of the Brazilian artistic production and can also be investigated through the material shown in the halls of the São Paulo Biennials but not printed on the specialized magazines and nor on the manuals launched at that time, with no plausible reasons.
Teixeira, Karina Alves. "O patrimônio imaterial sob a ótica dos museus: novas aproximações, perspectivas e rupturas". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-27042015-162323/.
Texto completoThe present work has as its studied objetc the imaterial or intagible heritage and their ways of musealization. Being the museums the maximum places of heritage presence, we aim to discover, identify and measure the built relationships between the immaterial or intangible assets and those spaces. To attend this purpose the research begins from the historicity of the definition of heritage, and how is the binding between tangible and intangible heritage. In a second step, the object of study is analyzed in locus in the Memorial of Resistance of São Paulo, where it is applied the experimental part of the research, and that corresponds to the third point of this research, in order to identify how the intangible is musealized and how it is perceived by its stakeholders. To do this the focus of analysis is on the Program of Regular Collection of Testimonies, because through it the museum collects the heritage reference in which works and builds the Memorial of Resistance of São Paulo\'s museological processes. Thus, an analysis is undertaken of the intentions of the program, its relationship with other programmatic lines, and their verified results on exhibition through institutional sources and reviews of public. Finally, a more general analysis seeks to locate the participation of social actors and memory agents on preservation processes.
Campaneli, Juliana Okuda. "A fotografia documental no museu de arte: dissonâncias e consonâncias". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-04042013-092536/.
Texto completoThis dissertation aims to identify the main mechanisms involved in the inclusion of documentary photography in art museums during the 1970s, in São Paulo. It presents three case studies about thematic and essay format photo exhibitions, accomplished at this period: A família brasileira, held at the Museu de Arte de Sao Paulo, in 1971; Xingu/Terra, part of the 13th Bienal International São Paulo, in 1975, and Bom retiro e luz: um roteiro in the Pinacoteca do Estado de Sao Paulo, in 1976. The analysis about the exhibitions formats and processes involved in their realization reveals dissonances and consonances between the purposes and interests of their proponents and/or directors. The exhibitions are also investigated from the standpoint of political relations of the time, because the intention is to identify the social functions of photography acquired in the process of its institutionalization.
Avelar, Thais Fernanda Alves. "Espaços museológicos: a questão do acesso pela ótica das identidades culturais". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-16032015-151959/.
Texto completoThis research discusses the cultural practices, assessing the issue of access, and adopting the space of the museum and the museological field as objects. It investigates to what extent the economic issues, associated with identity issues, act as potential motivational vectors of these practices. It is guided by an interest in understanding in how the binomial culture x identity, as a result of the management of the museological institution, does or does not intervene in the broadening of the distances between these cultural facilities and specific social demands, as well as converges towards the building of intangible borders mediated by cultural identities. AS an extension of that, the possible material and semantic barriers that may or may not potentiate access shall be investigated, barriers such as those constituted by geography, architecture, curatorial discourse and mediation, which may potentialize or compromise the access to the museum, analyzing such variables critically, transversely and inter-disciplinarily. Thus, the State\'s Pinacoteca was adopted as a study locus, where were confronted the categories of analysis mentioned above - in this scenario which is assumed to be a space of social representation - in order to strengthen its character, that should be plural and able to establish a dialogic process with different kinds of public by means of its collections, so that this public acts as protagonist on the construction of this dialogue as a dialectical process. For such, the museum will be considered as a space of culture, analyzed in a socioeconomic and ideological perspective, and understood as a system of continuous and inter-articulated action aiming at a pleasant and fluid production of knowledge that is embodied in everyday practices.
Leonelli, Carolina. "Lina Bo Bardi : [experiências] entre arquitetura, artes plásticas e teatro". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16042012-113440/.
Texto completoThe dissertation correlates architeture, fine arts and theatre and how these subjects arise in Lina Bo Bardi´s work. Starting from the study of the scenical projects created between 1960 and 1985 and broaching the director´s and theatrical groups involved on it, this treatise tries to identify the projectual proceedings applied by the architect, as well as the relations established with her work and investigating possible links with with the nacional and international artistic panorama. The analysis of the urban dimension reached by some of the studied plays as well as its approach with the project and the activities developed at the museums to which Lina was related (especially to the São Paulo Art Museum - MASP, to the Bahia´s Modern Art Museum and to the Unhão Popular Art Museum) takes us to possible relations between architecture, fine arts and theatre. It also takes us to possible reflexions on the projectual preceedings adopted and the descried perspectives for architecture, or to what Lina called as a \"re-proposition non perfectionist of the rationalism\".
Ambrosio, Eliana Ribeiro 1975. "Presépio Napolitano do Museu de Arte Sacra de São Paulo e de coleções internacionais : cenografia e expografia". [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280541.
Texto completoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A pesquisa partiu da análise documental do Presépio Napolitano pertencente ao Museu de Arte Sacra de São para estudar as questões cenográficas envolvidas nesta tipologia presepial. Inicialmente, foi realizada uma revisão dos aspectos abordados na dissertação de mestrado intitulada Presépio Napolitano do Museu de Arte Sacra de São Paulo: percurso metodológico para a elaboração de um inventário científico, a qual contribuiu para o levantamento histórico da criação do Museu dos Presépios em São Paulo. A partir da problemática da exibição dos núcleos presepiais, a tese revisa a bibliografia sobre a tradição napolitana e se ocupa das questões cenográficas dos conjuntos napolitanos, de seus personagens característicos e de seus grupos cênicos para discutir as mudanças de gosto expográfico ao longo dos séculos. Ademais, o estudo abarca comparações de soluções cênicas entre os núcleos napolitanos e outras tipologias presepiais, bem como as soluções expografia nos diversos centros mundiais que possuem coleções napolitanas. Assim, uma das contribuições da tese é avaliação das condições atuais das cenografias existente nessas coloções e o levantamento das motivações de suas escolhas museográficas
Abstract: Based on the analysis of the documents about the Neapolitan crib that belongs to Museu de Arte Sacra de São Paulo, the research intended to study the scenographic issues involved in this kind of crib collection. Initially, we performed a review of the issues discussed in the dissertation entitled Neapolitan Crib of the Museum of Sacred Art in São Paulo: methodological approach for the development of a scientific survey, which contributed to record the historical aspects of the creation of the Museu dos Presépios in São Paulo. From the matter of the crib's collections displaying, the thesis reviews the literature on the Neapolitan, their typical figures and its scenic groups to discuss the exhibition changes throughout the centuries. Moreover, the study includes comparisons among Neapolitan crib's scenic solutions and other crib's type, as well as expography solutions from others centers that have Neapolitan collections around the world. Thus, one of the contributions of the thesis is evaluating the sceneries conditions of the current collections and the motivation of their museographic choices
Doutorado
Historia da Arte
Doutor em História
Ribeiro, Mariana Karina. "A viagem do Argonauta = as poeticas de Giorgio de Chirico no acervo do MAC-USP". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279112.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Apresenta-se neste trabalho uma abordagem da obra do artista Giorgio de Chirico a partir de cinco quadros seus pertencentes ao MAC-USP, pintados entre 1914 e 1940 circa e alguns de seus escritos. Pretende-se fornecer mais elementos para o conhecimento e a interpretação desse significativo conjunto de obras do patrimônio artístico-cultural paulista, ampliando as perspectivas de debate do tema no Brasil. Ainda com este escopo são oferecidas ao final do trabalho traduções com notas, de textos selecionados, escritos pelo artista entre 1911 e 1938.
Abstract: It is presented in this text an approach to the work of the artist Giorgio de Chirico from its five paintings belonging to the MAC-USP, executed between 1914 and 1940 circa and some of his writings. It is intended to provide more elements for the knowledge and interpretation of this significant collection of artworks of paulista cultural artistic heritage, extending the perspective of debate on this subject in Brazil. Still with this scope, translations with notes of selected texts, written by the artist between 1911 and 1938, are presented by the end of this material.
Mestrado
Historia da Arte
Mestre em História
Politano, Stela. "Exposição didatica e vitrine das formas = a didatica do Museu de Arte de São Paulo". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279111.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A Exposição Didática e a Vitrine das Formas foram duas exposições que marcaram o início do Museu de Arte de São Paulo, em 1947. Foi na Rua Sete de Abril que o projeto de Pietro Maria Bardi se iniciava, na busca pela formação didática do público moderno que adentrava pelas portas do Edifício dos Diários Associados. Este estudo visa à compreensão desse momento da história artística de São Paulo e, acima de tudo, ao resgate as falas e documentos históricos antes calados pelo esquecimento.
Abstract: "Exposição Didática" and "Vitrine das Formas" were benchmarks exhibitions in the beginning of Assis Chateaubriand Museum of Art of São Paulo, in 1947. It was on Sete de Abril street that the project of Pietro Maria Bardi started the pursue of the modern audience teaching training, which came into the building through the doors of "Diários Associados". This study aims at understanding this period of Art History of Sao Paulo and, above all, to rescue the speeches and historical documents before the silent oblivion.
Mestrado
Historia da Arte
Mestre em História
Silva, Sobrinho José Simão. "A língua é o que nos une = língua, sujeito e Estado no Museu da Língua Portuguesa". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270666.
Texto completoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O trabalho analisa o funcionamento discursivo do Museu da Língua Portuguesa. Busca compreender, na perspectiva teórico-metodológica da História das Idéias Lingüísticas, associada à Análise de Discurso, os efeitos de sentidos desse museu, considerando as relações que ele mantém com a história da Língua Portuguesa, da produção brasileira de conhecimento lingüístico, da instituição museu e do processo de formação política e social do Brasil com suas políticas públicas. Metodologicamente, observa o recorte que o museu opera: o que ele mostra como sendo a língua dos brasileiros e o que não mostra, atentando para os efeitos de sentidos produzidos nesse jogo entre o dizer/mostrar e o não-dizer/ não - mostrar. Conclui que o Museu da Língua Portuguesa conforma relações equívocas e contraditórias entre língua, sujeito e Estado
Abstract: The work analyzes the discursive functioning of the Portuguese Language Museum. It tries to understand, in the theoretical-methodological perspective of the History of Linguistic Ideas, associated with Discourse Analysis, the effects of sense of this museum, considering the relationships it has with the history of Portuguese, with the Brazilian production of linguistic knowledge, with the museum as an institution and the process of political and social formation in Brazil with their public policies. Methodologically, it observes the way the museum operates: what it shows as being the Brazilian language and what it doesn't show, focusing in the effects of sense produced in this game between say/show and doesn't say/doesn't show. It concludes that the Portuguese Language Museum has equivocal and contradictory relations between language, subject and State
Doutorado
Linguistica
Doutor em Linguística
Hoffmann, Ana Maria Pimenta. "Crítica de arte e bienais: as contribuições de Geraldo Ferraz". Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-05072009-193304/.
Texto completoThis paper regards the art criticism articles written by Geraldo Ferraz about the early Art Biennials in São Paulo. We focused our analysis in the articles written about the 4th, 5th and 6th Biennials, published by the newspaper O Estado de S. Paulo. We used articles, documents and other materials from the following institutions: Fundação Bienal (Historic Archive \'Wanda Svevo\'), Museum of Modern Art of São Paulo (MAM SP), Museum of Contemporary Art of São Paulo University (MAC USP), State University of Campinas\' Arquivo Edgard Leuenroth (AEL UNICAMP), Documentation and Archive Center of the State Universty of São Paulo (CEDEM UNESP) and Archives of the State of São Paulo. The art critic Geraldo Ferraz was an author and journalist, and his work contributed to the establishment of art criticism sections in Brazil\'s media, as well as the development of cultural journalism in the country. In this analysis of his career as a critic, the study highlights his reflections about the organization of the Art Biennials and its aesthetic postures.
Signorelli, Paula Rodrigues Alves. "O Panorama da Arte Brasileira do MAM SP: da formação de acervo aos projetos curatoriais". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-29062018-103759/.
Texto completoThe focus of this dissertation is the program of exhibitions entitled Panorama da Arte Brasileira (Panorama of Brazilian Art) created by the São Paulo Museum of Modern Art (MAM SP) in 1969, after its collection was transferred to the University of São Paulo. The objective of the Panorama was to reestablish the program and, at the same time, create a new collection for the institution through acquisitions and donations of works to each edition. The importance of the Panorama to the reemergence of the museum and the renewal of its relationship with the cultural milieu justifies the focus of this study. Analyzing primarily curatorial texts, the study discusses how the premises of the program, founded on the terms panorama, Brazilian art and current, resulted in different responses from the guest curators over the years. It is based on the theory that there has been a change in paradigm, which began in the mid-1990s, and consolidated at the turn of the millennium, when the program began to be curated without an institutional relationship with MAM SP. The study shows that over this period the curatorial discourse became increasingly self-referencing and that the idea of current was no longer related to the works on exhibit and began to manifest, not only critical thought about them, but also a broader reflection on contemporary Brazilian art and its relationship with the modernist tradition. Finally, it was possible to conclude that, starting in the 2000s, questions surrounding a myth of origin of Brazilian contemporary art became recurrent in the Panorama of Brazilian Art and that the curatorial discourse began to adopt Modernism as the main parameter when considering the characteristics of what is national art.
Jardim, Elaine Aparecida. "\"Meu bairro, minha cidade\": as exposições inaugurais dos CEUs e as representações urbanas das periferias paulistanas". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-10102017-153700/.
Texto completoThe exhibition project My neighborhood, my city: you are also part of this History was developed between 2003 and 2004 and resulted in the inaugurations of the Unified Educational Centers (CEUs). Its goal was to present the connections between local history and the broader history of the city, as a way to provide a positive appropriation of the new school space by the population. This experience had as a vector as commemorations of the 450 years of the city of São Paulo and represented the result of a work coordinated by the Municipal Secretary of Education, with the collaboration of Municipal Secretary of Culture. Because of its connection to a school space, the exhibitions assumed a pedagogical dimension that was conditioning it. Understanding as a museological action, this project represents one of the most important cultural initiatives triggered by the municipal public domain of São Paulo, considering its unprecedented feature of registration and valorization of the memory of peripheral districts. This dissertation approaches its conception, production and reception process, as well as its developments in pedagogical activities integrated to the school curriculum of the municipal education network.
Di, Gianni Tercio Pereira. "Negociação e convívio cultural : Museu Histórico da Sentinela Paulista, 1957-1972 /". Franca : [s.n.], 2008. http://hdl.handle.net/11449/103101.
Texto completoAbstract: Study of the engagement of part of the local population in the patrimony formation and in the process of institutionalization and consolidation of the Municipal Historical Museum of Franca, mediated by José Chiachiri, between 1957 and 1972, moving backwards to the period of 1937 to 1940; when places of memory and historical monuments were valued under the impact of the Bandeira Expedition Caravan visit. This study identifies choices between social representations of the local history, as a criterion to evaluate sense, meaning and traces of unity between semiopheres exhibited to the public, called vectorial nucleus of meaning. It demonstrates museal procedures of preservation, investigation and extroversion of the patrimony received evergetically. It makes EXPLICIT social alliances, political, ethnical, institutional and others solidarities and conflicts, in conformity with testimonies from the period, sine qua non condition to comprehend the passed on spectacle. The documental corpus grants privilege to the Sertaneja and Vilafranca magazines, managed by José Chiachiri, in order to reconstruct the spectacle on the scene in the Museum by his exposed speech. In conclusion, it indicates possibilities of museum actualizations of inherited patrimony
Resumem: Estudio del desarrollo de parte de la población local en la formación del acervo y en el proceso de institucionalización y consolidación del Museo Histórico del Municipio de Franca, mediado por José Chiachiri entre 1957 y 1972, con reculo al período de 1937 a 1940, cuando lugares de memoria y monumentos históricos fueron valorados bajo el impacto de la visita de caravana de la Bandera. Identifica elecciones entre representaciones sociales de la historia local, como criterio para evaluar sentido, significado y vestigios de unidad entre semióforos exhibidos al público, llamados de nucleos vectoriales de sentido. Releva procedimientos museales de preservación, investigación y extroversión del acervo recibido evergéticamente. EXPLICITA alianzas sociales, políticas, étnicas, institucionales y otras solidaridades y conflictos, según testimonios de la época, condición sine qua non para compreensión del espectáculo legado. El corpus documental privilegia las revistas Sertaneja y Vilafranca, comandadas por José Chiachiri, para recontituir el espectáculo puesto en escena y en valor en el Museo por medio de su discurso expográfico. Indica, por fin, posibilidades de actualización museológica de ese patrimonio heredado
Orientador: Ida Lewkowicz
Coorientador: Maria Cristina Oliveira Bruno
Banca: Maria Bernadete Ramos Flores
Banca: Marcelo Mattos Araújo
Banca: Jean Marcel Carvalho França
Banca: Márcia Regina Capelari Naxara
Doutor
Bartcus, Aline Zandra Vieira [UNESP]. "Memória e patrimônio ferroviário: estudo sobre o Museu da Companhia Paulista em Jundiaí-SP". Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/93340.
Texto completoConselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Esta dissertação traz para o debate a situação do Patrimônio Ferroviário de São Paulo, tendo como objeto central o Museu da Companhia Paulista, situado no Município de Jundiaí. Esse museu está localizado no Complexo de Oficinas FEPASA, que atualmente é um patrimônio tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional – IPHAN. O foco é compreender como se deu o processo de patrimonialização do museu no período de falência e privatizações das ferrovias. Para entender toda essa trama complexa que ser formou após esse delicado momento das malhas ferroviárias, recorreu-se a diversas fontes documentais que evidenciaram inúmeras disputas entre os agentes preservacionistas. Essas fontes foram entrevistas orais realizadas com pessoas envolvidas de alguma forma com a preservação do museu, tais como alguns ferroviários aposentados; Os processos de tombamento tanto do IPHAN, na esfera federal, quanto do Conselho de Defesa do Patrimônio Histórico, Arqueológico, Artístico e Turístico – CONDEPHAAT, na esfera estadual, e diversos materiais encontrados no próprio museu. Com base nesse conjunto documental foi possível compreender quais as dificuldades enfrentadas na preservação dos remanescentes ferroviários após a liquidação das empresas férreas, e verificar na prática como os espaços de memórias são, por excelência, lugares de conflitos
This essay brings to a debate the situation of São Paulo Railway Heritage, which main object is “Companhia Paulista Museum”, located in the city of Jundiai. This museum is located in the complex of “FEPASA” factory, which is now a heritage listed by the Institute of Artistic and Historical National Heritage - IPHAN. The main idea is to understand how the process of the museum heritage has occurred during the period of bankruptcy and privatization of the railways. To understand this entire complex plot that happened after this delicate moment of the rail network, it was necessary to use several sources of documents that showed numerous disputes among the preservationist agents. These sources were taken from oral interviews with some people who were involved, some way, with the preservation of the museum, like some retired railroaders. The “IPHAN” tipping processes, at the federal level, as the Council of Historical Heritage Defense, Archaeological, Artistic and Tourist - CONDEPHAAT, at the state level, and several materials found in the museum. Based on these documents, it was possible to understand the difficulties faced in the preservation of the remaining railway after the settlement of railway companies, and see in practice how the spaces of memory are for excellence, places of conflict
Bartcus, Aline Zandra Vieira. "Memória e patrimônio ferroviário : estudo sobre o Museu da Companhia Paulista em Jundiaí-SP /". Assis : [s.n.], 2012. http://hdl.handle.net/11449/93340.
Texto completoBanca: Marly Rodrigues
Banca: Manoela Rossinetti Rufinoni
Resumo: Esta dissertação traz para o debate a situação do Patrimônio Ferroviário de São Paulo, tendo como objeto central o Museu da Companhia Paulista, situado no Município de Jundiaí. Esse museu está localizado no Complexo de Oficinas FEPASA, que atualmente é um patrimônio tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional - IPHAN. O foco é compreender como se deu o processo de patrimonialização do museu no período de falência e privatizações das ferrovias. Para entender toda essa trama complexa que ser formou após esse delicado momento das malhas ferroviárias, recorreu-se a diversas fontes documentais que evidenciaram inúmeras disputas entre os agentes preservacionistas. Essas fontes foram entrevistas orais realizadas com pessoas envolvidas de alguma forma com a preservação do museu, tais como alguns ferroviários aposentados; Os processos de tombamento tanto do IPHAN, na esfera federal, quanto do Conselho de Defesa do Patrimônio Histórico, Arqueológico, Artístico e Turístico - CONDEPHAAT, na esfera estadual, e diversos materiais encontrados no próprio museu. Com base nesse conjunto documental foi possível compreender quais as dificuldades enfrentadas na preservação dos remanescentes ferroviários após a liquidação das empresas férreas, e verificar na prática como os espaços de memórias são, por excelência, lugares de conflitos
Abstract: This essay brings to a debate the situation of São Paulo Railway Heritage, which main object is "Companhia Paulista Museum", located in the city of Jundiai. This museum is located in the complex of "FEPASA" factory, which is now a heritage listed by the Institute of Artistic and Historical National Heritage - IPHAN. The main idea is to understand how the process of the museum heritage has occurred during the period of bankruptcy and privatization of the railways. To understand this entire complex plot that happened after this delicate moment of the rail network, it was necessary to use several sources of documents that showed numerous disputes among the preservationist agents. These sources were taken from oral interviews with some people who were involved, some way, with the preservation of the museum, like some retired railroaders. The "IPHAN" tipping processes, at the federal level, as the Council of Historical Heritage Defense, Archaeological, Artistic and Tourist - CONDEPHAAT, at the state level, and several materials found in the museum. Based on these documents, it was possible to understand the difficulties faced in the preservation of the remaining railway after the settlement of railway companies, and see in practice how the spaces of memory are for excellence, places of conflict
Mestre
Barbosa, Andrea Lombardi. "Narrativas do desencontro: o MAM e as novas mídias". Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20252.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Fundação São Paulo - FUNDASP
The present research proposes to understand the narratives between the new media and the Museum of Modern Art of São Paulo, from a brief mapping of institutions that act at the intersection with the digital media as a confrontation production exercise, or in creative circumstances that explore new languages and approaches. In terms of functions, some issues stand out: how to create and implement new ways of performing museums? What are the changes necessary for the museum to account for the exposure and conservation of work in new media? What is the position of the museum in the face of new technologies, both in its use in the management and documentation of the collection and in the aid of education projects and support for visitation? For both the established museums and the museums being created today, the challenges that the new media present are enormous. They are ephemeral and dematerialized actions, works in process, built collectively, that manifest themselves in the direct clash with the ubiquitous time of cyberspace, generating strategies that subvert, recreate, amplify and deconstruct the meaning often anticipated by the digital context. In this way, the balance between conservation and exposure is threatened by the very dynamics of artistic production that stresses spatiotemporal distances, breaks with the paradigm of contemplation and calls for intervention, participation and intensifies mediation with works. In this sense, the present research addresses not only the productions and the experience of the museums in the context of the new media that cross the MAM-SP, but also points to questions to discuss the perspectives of the digital aesthetics in contemporary museums
A presente pesquisa propõe que se compreenda as narrativas existentes entre as novas mídias e o Museu de Arte Moderna de São Paulo a partir de um breve mapeamento de instituições que atuam na intersecção com as mídias digitais como exercício de produção de enfrentamento, ou em circunstâncias criativas que exploram novas linguagens e abordagens. No plano das funções, algumas questões se sobressaem: como criar e implementar novas formas de atuação dos museus? Quais são as mudanças necessárias para que o museu dê conta da exposição e da conservação dos trabalhos em novas mídias? Qual é o posicionamento do museu frente às novas tecnologias, no que se refere ao seu uso no gerenciamento e na documentação da coleção, bem como no auxílio aos projetos de educação e no apoio à visitação? Tanto para os museus já estabelecidos, como para os que atualmente estão sendo criados, os desafios que as novas mídias apresentam são enormes. São ações efêmeras e desmaterializadas, obras em processo, construídas coletivamente, que se manifestam no embate direto com o tempo ubíquo do ciberespaço, gerando estratégias que subvertem, recriam, ampliam e desconstroem o sentido muitas vezes previsto pelo contexto digital. Dessa forma, o equilíbrio entre a conservação e a exposição se vê ameaçado pela própria dinâmica da produção artística que tensiona as distâncias espaçotemporais, rompe com o paradigma da contemplação e solicita a intervenção, a participação, intensificando a mediação com as obras. Neste sentido, a presente investigação aborda não somente as produções e a experiência dos museus no contexto das novas mídias que atravessam o MAM-SP, mas também aponta questões no sentido de discutir as perspectivas da estética digital nos museus contemporâneos
Crownshaw, Richard Steven. "Tracing Holocaust memory in American culture". Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324205.
Texto completoRhodes, Mark A. II. "“They Feel Me a Part of that Land”: Welsh Memorial Landscapes of Paul Robeson". Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1430923136.
Texto completoCorrêa, Cristina Lara 1967. "Coleção Imbert de maiólicas do Museu de Arte de São Paulo Assis Chateaubriand". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279676.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta pesquisa reúne a documentação da coleção de maiólicas de Alexandre Imbert (1865- 1943) conservadas no Museu de Arte de São Paulo Assis Chateaubriand desde 1952. O objetivo do levantamento e organização dos dados técnicos de cada peça foi contribuir para registrar um banco de dados na forma de um catálogo. A catalogação das peças é acompanhada de informações técnicas, descritivas, fotográficas, bibliográficas e de dados de peças similares conservadas em outros acervos. Além disso, a abordagem discorre em torno dos aspectos favoráveis para a formação do Museu de Arte e para a aquisição da coleção Imbert que chegou ao total de 525 peças em 1911, sua dispersão no início do século XX e a valorização desta tipologia de acervo no mercado internacional. Em paralelo, o trabalho está articulado ao panorama de conceitos e debates sobre a técnica da maiólica e a classificação estilística de cada centro de produção italiano
Abstract: This research combines Alexandre Imbert¿s (1865-1943) majolica collection documentation, preserved in the "Museu de Arte de São Paulo Assis Chateaubriand" since 1952. The purpose of the survey and the organization of the technical data of each piece has contributed to register a database in the form of a catalog. The cataloging of the parts is accompanied by technical, descriptive, photographic, bibliographic data and similar parts preserved in other collections. Moreover, the approach talks about the favorable aspects for the formation of the "Museu de Arte" and the acquisition of Imbert¿s collection which totalized 525 pieces in 1911, its dispersion in the early twentieth century and the appreciation of this type of collection in the international market. In parallel, the work is articulated to the panorama of concepts and debates on the majolica technique and the stylistic classification of every Italian production center
Mestrado
Historia da Arte
Mestra em História
Puelles, Alice Aparecida Labarca. "O vestuário e seus acessórios em São Paulo em meados do século XIX: uma construção de vocabulário para compreender indumentária". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-27012015-145049/.
Texto completoThe present work has as aim the preparation of a vocabulary to garment comprehension of the nineteenth century, adapting into the Museum Documentation field. From the analysis of shops announcements and fabric and clothing trades, published in Correio Paulistano newspaper, in São Paulo around the nineteenth century, aim identify clothing and accessories used at that time, in order to recognize the fashion used by the paulista society in the period. Fashion, here, understood as a social need, such as individuality, expressing personality through details, as approval in a group who share the same anxious. It\'s about the instrument construction of a museological curatorship since the new knowledge development about the São Paulo cultural and historical contexts in the period studied. There are few national publications about textile and fashion, making researchers appeal continually to foreign publications that not portray faithfully our country and much less the São Paulo region.
Ambrosio, Eliana Ribeiro 1975. "Preservação do Presepio Napolitano do Museu de Arte Sacra de São Paulo : percursos metodologicos para a elaboração de um inventario cientifico". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281529.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A pesquisa partiu da análise documental do exemplar pertencente Museu de Arte Sacra de São Paulo para promover o resgate das informações históricas que permitissem o traçado de diretrizes para sua conservação e preservação. Para tanto, o estudo tratou da revisão da documentação existente junto ao museu, que até o momento não havia sido sistematizada e organizada. Dado o volume de elementos a serem tratados em conjunto, e com a finalidade de facilitar posteriores acessos à coleção, o acervo ganhou um banco de dados. Este reúne as informações existentes nos diversos tombamentos e nas fichas catalográficas, fornecendo subsídios sobre trocas de acessórios e problemas de conservação, por quê a coleção passou ao longo dos anos, além de contar com registros fotográficos
Abstract: Based on the analyze of the documents about the Neapolitan crib that belongs to Museu de Arte Sacra de São Paulo, the research intended to put together its historical information to allow create policy for its conservation and preservation. To achieve it¿s proposed, during the study, all documents that exist in the museum was reviewed and organized. As lots of records must be treated together, and intending to improve access into the collection, it was designed one database to manage the collection. It puts together the information of the different inventory and cataloguing data, and offers elements of the change of the accessories, conservation problems and photographic records
Mestrado
Historia da Arte
Mestre em História
Simões, Ana Rita Estorninho. "Portugal e o modelo brasileiro relação arquitectónica entre aproximação e contemporaneidade". Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/17944.
Texto completoNociti, Filho Jose Roberto. "As obras de Jean-Auguste-Dominique Ingres no museu de arte de São Paulo". [s.n.], 1997. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278659.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado
Abstract: Not informed
Mestrado
Mestre em História
Hitner, Sandra Daige Antunes Correa. "Jheronimus Bosch e "As tentações de Santo Antão" : Museu de Arte de São Paulo Assis Chateaubriand-MASP". [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284155.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: No informado
Abstract: Not informed.
Mestrado
Mestre em Artes
Cancino, Fuentes Eva. "Museos y bienal, extensión artística a mediados del siglo XX estudio comparativo entre Brasil y Chile". Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/140656.
Texto completoEste trabajo de investigación pretende realizar un estudio de las políticas públicas ligadas a la extensión de las artes visuales de Chile y Brasil en las décadas de los cuarenta y los cincuenta, enfocándose en dos eventos fundamentales para la modernización de la institucionalidad artística. El primero, la fundación del Museo de Arte Contemporáneo de la Universidad de Chile en 1947. Y, el segundo, la fundación del Museo de arte Moderno de Sao Paulo en 1948 y la posterior realización de la Bienal de Arte de la misma ciudad en 1951. Dicho estudio refiere a los modelos de financiamiento que se entregaron para la fundación de dichas instituciones, el primero de carácter estatal llevado a cabo por la Universidad de Chile y el segundo, de carácter privado, llevado a cabo por la élite metalúrgica paulista, analizando las programáticas y marcos ideológicos que delimitaron las inauguraciones de las institucionalidades y el cómo estas se insertan en las redes de intercambio mundial del arte.
BARBOSA, Caroline Carvalho. "Design expositivo: modernismo italiano revisitado no museu de arte de São Paulo "Assis Chateaubriand"". Universidade Anhembi Morumbi, 2017. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1682.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The return of exhibitions at the São Paulo Art Museum “Assis Chateaubriand” - MASP from the year 2015 is a review of the museological program with ways to outline the next Maspian actions. The Italian exhibition design, delineated from the influence of El Lissitisky and the production within the European vanguards, had in Brazil MASP as a space for its expression through mainly the performance of Lina Bo Bardi. From this context, the present research aims to highlight aspects of Italian exhibition design, influenced by the premises of modern Italian architecture and art. The exhibition Fashionable art: collection MASP Rhodia (2015-2016) presents 79 pieces of clothing that were donated by Rhodia to the MASP collection in the year 1972, and this exhibition, through the analysis of its exhibition devices, the object of this research. Here we made use of the bibliographical and documentary techniques, if the latter stopped the analysis of documents, texts, drawings and images related to the exhibition Fashionable art: MASP Rhodia collection, held at the MASP Documentation Center. The exhibition presents a different display from those that marked the Italian production in the field of exhibition design.
O retorno de exposições no Museu de Arte de São Paulo "Assis Chateaubriand" – MASP a partir do ano de 2015 é uma revisão do programa museológico com vias a delinear as próximas ações maspianas. O design expositivo italiano, delineado a partir da influência de El Lissitisky e da produção no âmbito das vanguardas europeias, teve no Brasil o MASP como espaço para sua expressão através, principalmente, da atuação de Lina Bo Bardi. A partir desse contexto, a presente pesquisa tem por objetivo pontuar aspectos do design expositivo italiano, sob influência das premissas da arquitetura e da arte modernas italianas. A exposição Arte na moda: coleção MASP Rhodia (2015-2016) apresenta 79 peças do vestuário que foram doadas pela Rhodia para o acervo do MASP no ano de 1972, sendo essa mostra, através da análise de seus dispositivos expositivos o objeto desta pesquisa. Aqui se fez uso das técnicas bibliográfica e documental, detendo-se esta última da análise de documentos, textos, desenhos e imagens relacionadas à exposição Arte na moda: coleção MASP Rhodia, realizada no Centro de documentação do MASP. A exposição apresenta um display distinto daqueles que marcaram a produção italiana no campo do design expositivo.
Campos, Hugo Berlingeri. "As políticas públicas de cultura executadas por meio de contratos de gestão : o caso dos museus paulistas /". Franca, 2018. http://hdl.handle.net/11449/153796.
Texto completoBanca: Lilian Rodrigues de Oliveira Rosa
Banca: Maria Helena Villas Boas Concone
Resumo: A Lei nº 9.637/98 sancionada pela Presidência da República em 15 de maio de 1998 e a Lei Complementar nº 846/98, promulgada pelo governador do Estado de São Paulo, em 04 de junho de 1998, dispõem sobre a qualificação de entidades como Organizações Sociais. Estas duas normas permitem a celebração de contratos de gestão entre o Estado e organizações privadas, qualificadas como Organizações Sociais, para a execução de atividades públicas classificadas como não exclusivas do Estado, tanto no âmbito federal como no Estado de São Paulo. É exatamente a partir destes marcos legais que em 10 de novembro de 2005 é celebrado o contrato de gestão de entre a Secretária da Cultura do Estado de São Paulo e a Fundação OSESP Organização Social de Cultura. São, portanto, mais de 10 anos de parceria entre o Estado e uma organização da sociedade civil, que assumiu a gestão de um equipamento cultural, que era administrado pela Secretaria da Cultura. Passado este período, entendeu-se que é o momento de avaliar este modelo de gestão. Definiu-se como objetivo descrever e analisar a experiência de gestão das cinco maiores Organizações Sociais (OS) vinculadas à Secretaria da Cultura do Estado de São Paulo, que administram os contratos de gestão de doze museus paulistas. Esta concepção de administração pública surge como resposta ao debate sobre Reforma do Estado que ocorre no Brasil na década de 1990. Nesta pesquisa, que do ponto de vista metodológico se caracteriza como um estudo de caso, os dados se... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Law nº 9.637/98 sanctioned by the Presidency of the Republic on May 15, 1998 and Complementary Law nº 846/98, promulgated by the governor of the State of São Paulo on June 4, 1998, provide for the qualification of entities such as Social Organizations. These two standards allow the execution of management contracts between the State and private organizations, qualified as Social Organizations, for the execution of public activities classified as non-exclusive to the State, both in the federal scope and in the State of São Paulo. It is from these legal frameworks that on November 10, 2005, a management agreement was signed between the Secretary of Culture of the State of São Paulo and the Fundação OSESP Organização Social de Cultura. It is, therefore, more than 10 years of partnership between the State and a civil society organization, which assumed the management of a cultural equipment, which was administered by the Secretariat of Culture. After this period it was understood that it is the moment to evaluate this management model. The objective was to describe and analyze the management experience of the five largest Social Organizations (OS) linked to the Secretariat of Culture of the State of São Paulo, which manage the management contracts of twelve museums in São Paulo. This conception of public administration emerges as a response to the debate on state reform that occurs in Brazil in the 1990s. In this research, which is characterized as a case study, data will be coll... (Complete abstract click electronic access below)
Mestre
Laurière, Christine. "Paul Rivet : le savant & le politique /". Paris : Muséum national d'histoire naturelle, 2008. http://catalogue.bnf.fr/ark:/12148/cb41286408x.
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