Literatura científica selecionada sobre o tema "Musées de société"
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Artigos de revistas sobre o assunto "Musées de société"
Veillard, Jean-Yves. "Musées, Hommes et Société". Bulletin de l'Association française des anthropologues 39, n.º 1 (1990): 73–76. http://dx.doi.org/10.3406/jda.1990.1501.
Texto completo da fonteNavajas Corral, Óscar. "Société, musées et réappropriation sociale comme « utopie » : modèles de musées de société en Espagne". Culture & musées, n.º 39 (5 de maio de 2022): 109–34. http://dx.doi.org/10.4000/culturemusees.7804.
Texto completo da fonteBergeron, Yves. "Métissages entre musées d’art et musées de société dans les musées nord-américains". Culture & Musées 16, n.º 1 (2010): 45–63. http://dx.doi.org/10.3406/pumus.2010.1559.
Texto completo da fonteLemay-Perreault, Rébéca. "Les oeuvres d’art contemporain dans les musées de société : que nous disent-elles ?" Article six 7, n.º 2 (7 de maio de 2015): 111–36. http://dx.doi.org/10.7202/1030253ar.
Texto completo da fontePoulot, Dominique. "Le musée d’histoire en France entre traditions nationales et soucis identitaires". Anais do Museu Paulista: História e Cultura Material 15, n.º 2 (dezembro de 2007): 293–316. http://dx.doi.org/10.1590/s0101-47142007000200021.
Texto completo da fonteLeclerc, Jean-François, Katy Tari e Annette Viel. "Musées de société, musées hybrides : regards croisés sur les mutations québécoises". Culture & musées, n.º 39 (5 de maio de 2022): 337–41. http://dx.doi.org/10.4000/culturemusees.8578.
Texto completo da fonteBellemare, Josée, e Yves Bergeron. "Musées d’art et musées de société au Québec : 30 ans de métamorphose". Culture & musées, n.º 39 (5 de maio de 2022): 318–24. http://dx.doi.org/10.4000/culturemusees.8493.
Texto completo da fonteMravik, László. "La collection d'objets d'art: musées et société". Museum International (Edition Francaise) 35, n.º 4 (24 de abril de 2009): 215–20. http://dx.doi.org/10.1111/j.1755-5825.1983.tb00875.x.
Texto completo da fonteQuerol, Lorena Sancho. "The SoMus Project: Close-up on Innovative Participatory Management Models in European Museums". Les Cahiers de Muséologie, n.º 1 (2021): 53–77. http://dx.doi.org/10.25518/2406-7202.396.
Texto completo da fonteWolf, Laurent. "L'artiste, la règle et l'interdit". Études Tome 414, n.º 3 (1 de março de 2011): 365–75. http://dx.doi.org/10.3917/etu.4143.0365.
Texto completo da fonteTeses / dissertações sobre o assunto "Musées de société"
Piacentini, P. "Les scribes dans la société égyptienne de l'Ancien Empire". Doctoral thesis, Università degli Studi di Milano, 1997. http://hdl.handle.net/2434/531366.
Texto completo da fonteChevalier, Dominique. "Musées et musées-mémoriaux urbains consacrés à la Shoah : mémoires douloureuses et ancrages géographiques. Les cas de Berlin, Budapest, Jérusalem, Los Angeles, Montréal, New York, Paris, Washington". Habilitation à diriger des recherches, Université Panthéon-Sorbonne - Paris I, 2012. http://tel.archives-ouvertes.fr/tel-00811670.
Texto completo da fonteBoudjema, Cédric. "La fonction éducative des musées dans la société numérique : analyse comparative de l'offre pédagogique en ligne de huit musées nationaux dans quatre pays (France, Angleterre, Australie, Etats-Unis)". Thesis, Lille 3, 2016. http://www.theses.fr/2016LIL30013/document.
Texto completo da fonteThis research studies museum internet sites and in particular the pedagogy of eight national institutions in four different countries and suggests that online museums are educational content players.The interest is to investigate the educational content of the internet sites using a content analysis and implementing a comparison between the four countries and the types of internet sites to be able to understand the practices – and especially what Jean Davallon calls « the anticipation by the “sender” » that the visitor will engage in (the sender aiming for example to keep the attention of the latter or to provide guidance in the contents), the typology of content and the teaching strategies put in place by the online museum institutions. The online educational offer is defined here as a permanent activity as a source of building knowledge, consultation, criticism, and entertainment, from the museum resources. This offer is also constructed according to the consistent rules of Web design.We have chosen to study the online pedagogy according to a constructivist approach that drives us to privilege certain key concepts : individual learning ways, learning processes, cognitive strategies, meta-cognitive strategies, {learning styles}, taxonomy. From a methodological point of view, this thesis relies on a qualitative approach and privileges a content analysis from an analysis grid with eleven categories : the corpus is composed of eight internet sites and of two types of national museums : the art museums and the science museums with an educational section. The thesis is composed of two tomes. The tome 2 contains the complete analysis of the sites and the tome 1 includes three parts. In the first part, the research discusses the educational role of museums with its specificities and complexities. This part defines the historical context of the educational function of museums that very early on developed an educational strategy for the public. It also shows the specificity of museums in informal education as a place of learning concepts and development that develop two types of mediation. The museum favours the formulation of questions; it orientates reflexion and raises questions. It then shows the museum as an important partner and complementary to school. Finally, this part precises the historical context of online museums of the four countries from our analysis and the progressive development of the cultural policies of the present and the progressive actions put into place by the museums.Secondly, the research focuses on the thematic analysis of the internet sites and on their educational sections and attempts to show the successive steps of the content analysis via the analysis grid constructed for this research. Firstly, it is about showing the ergonomics of the sites to progressively arrive upon the general treatment of the educational sections of the sites, that is to say to identify the mechanisms of underlying internet sites and of their educational sections and secondly to identify the differences between the types of museums and their countries. Finally, the third part of the research attaches importance to the typology of the online educational content and focuses on the strategies put into place in the sites as well as the pedagogy deployed. The internet sites are thus viewed as interconnected elements, intended for a target audience and reinforcing the social role of the museum. The schools and the teaching body are a privileged population; a prominent place for them is underlined
Huang, Hui. "Un paysage culturel dynamique : géographie historique et économique des musées parisiens". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010627/document.
Texto completo da fonteParis has an exceptional cultural landscape, in which museums play an important role. This PhD thesis insists that this landscape has never ceased to change and is still changing. As for the museums themselves, far from being institutions opposed to change and to a modern economy, we have shown that they participate in the productive economy, specifically in the symbolic production, and that they manage to adapt to the public demand, to adjust their statutes, to rethink their links with other institutions and so on. Finally, we claim that museum activities are characterized by their similarities with other forms of symbolic consumption, and their spatial proximity with the areas of symbolic consumption
Friedmann, Fiona. "Faire carrière sur la scène de l'art contemporain : entre originalité de la création et stratégies d'auto-promotion". Nice, 2010. http://www.theses.fr/2010NICE2016.
Texto completo da fonteSince the 1960s more and more artists have become real « super stars ». Record sales of art works at auctions and in galleries, sumptuous exhibitions which attract masses and rankings of artists published in art magazines or on the Internet indicate which artists are trendy. So different questions arise: why are some artists instead of others successful ? Which strategies do they develop and use to catch the attention of the professionals of art ? And which elements help them remaining famous ? To develop their career and maintain their fame on the long run, artists are submitted to a double constraint. On the one hand they have to create untypical and audacious art works and on the other they have to assert their singularity by showing eccentricity or strangeness. As well rising as recognized artists permanently have to produce original art works and show a certain temperament or a strange personality in order to maintain the attention of the institutional leaders, the media and therefore the audience. It appears that to reach this goal artists have to make use of communication strategies, which can be qualified as « self-promotion » strategies and the principles of which derive from different areas : marketing, management, economy, advertising, theatre and public relations
Kübler, Bérénice. "Concilier les antécédents de la complexité institutionnelle des projets numériques de médiation culturelle : les apports d’une enquête pragmatiste dans les musées de société". Electronic Thesis or Diss., Aix-Marseille, 2023. http://www.theses.fr/2023AIXM0002.
Texto completo da fonteMuseums evolve in a complex environment, the result of successive waves of change since the 1980s. These changes reveal a multi-speed museum ecosystem that reveals certain inequalities, particularly in digital content. Ambitious digital strategies are being implemented by museums and many digital devices have been set up. However, professionals and researchers report difficulties encountered when conducting digital projects. The objective of this research is to understand and characterise the complexity of the collaboration between the actors of the museum sector and the providers of digital solutions; and to explore the techniques and tools put in place by the professionals involved to facilitate the implementation of these digital projects. We propose to answer the following question: "In what way does the boundary objects allow to reconcile the antecedents of institutional complexity in digital cultural mediation projects? We adopt a mode of reasoning based on pragmatist enquiry. The methodological design is articulated around three studies aiming at identifying the institutional logics specific to society museums, questioning the perceptions and social representations of the professionals involved in these projects and analysing in depth the digital project set up by two society museums
Vander, Gucht Daniel. "Le musée et l'art contemporain: contribution à la sociologie de la médiation artistique à l'ère post-moderne". Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212669.
Texto completo da fonteHanquinet, Laurie. "L'art de la représentation et la représentation de l'art: du sens et du bon usage des musées d'art moderne et contemporain en Belgique". Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210147.
Texto completo da fonteLa récolte des données a eu lieu au cours de deux phases principales :une première quantitative suivie par une seconde qualitative. Le design est séquentiel (en deux étapes successives) et non équivalent puisque la première étape quantitative a plus de poids (terminologie basée sur Leech et Onwuegbuzie).
Pour la première phase, a été réalisée une enquête par questionnaires auprès des visiteurs de six musées en Belgique âgés de 15 ans et plus. Au total, 1900 questionnaires ont été récoltés et encodés. A partir de ces données, une analyse en correspondances multiples a été effectuée pour évaluer de quelle manière les différentes dimensions des profils culturels (goûts pour la musique, l’art et la lecture, participation culturelle, loisirs ordinaires, créativité) s’agencent les unes aux autres. Cette méthode a été choisie pour ses qualités inductives et relationnelles.
Cette analyse montre que les profils culturels peuvent être perçus comme le résultat de bricolages entre répertoires culturels. Ceux-ci doivent être compris comme des principes qui classifient les goûts et les pratiques et leur donnent sens. Parmi ces répertoires, la distinction culture haute versus culture basse à la Bourdieu conserve une place primordiale mais cohabite avec d’autres, tels que les distinctions omnivores versus univores (Peterson), voraces versus inactifs (Sullivan & Katz-Gerro), culture jeune versus culture classique, goût pour la transgression versus conservatisme. Cette thèse appuie en conséquence l’idée selon laquelle il n’y a eu ni de transformation unidirectionnel des snobs vers les omnivores (thèse de l’omnivorité), ni un effondrement des hiérarchies culturelles (massification et postmodernisme).
L’utilisation de ces répertoires est principalement influencée par l’âge, l’éducation (sous diverses formes) et le statut socioprofessionnel (qui met l’accent sur les différences en termes de cultures professionnelles). Les profils culturels s’ancrent dès lors toujours dans des structures sociales, contrairement à ce que pensent certaines théories individualistes plus extrêmes (Bauman), et continuent d’être structurés par des mécanismes de distinction, puisque les répertoires sont socialement valorisés.
Une classification hiérarchique ascendante a suivi l’analyse en correspondances multiples pour mettre à jour une typologie qui reflète les principales configurations des profils culturels. Six classes ont été identifiées :les cultivés classiques, les cultivés en retrait, les cultivés progressistes, les hédonistes, les éloignés culturels et les amoureux de l’art. Pour conduire la deuxième phase qualitative, trois personnes par classe ont été interviewées pour approfondir les donnés quantitatives sur leur rapport à la culture, à l’art et au musée. Au regard de cette analyse de discours, il apparaît que les six classes ainsi constituées partagent en leur sein des grilles de lecture similaires du rôle de l’art et de la culture au sein de la société moderne mais aussi du musée et agissent, ce faisant, en « communautés interprétatives » (Fish; Hooper-Greenhill). Comprendre la diversité des profils culturels des visiteurs (tout en prenant en compte l’origine sociale) permet, dès lors, de concevoir la multiplicité des rapports au musée./
What do we know about art museums’ visitors? This question can appear very trivial. Visitors of art museums seem to belong to educated elite. At least, this is the image that cultural participation surveys rightly spread. Nevertheless, this perspective focuses mainly on the characteristics of the population who do not visit museums, rather than on the characteristics of the museums' visitors. These surveys help indeed to define the sociodemographic particularities of visitors, with regards to the general population but do not investigate a possible diversity within the visitor population. They show that cultural democratization did not really happen but can we really conclude that the audience constitutes a homogeneous mass of snobs defined by a precise relation to the culture?
This presentation aims to go beyond this traditional approach in sociology that focuses on sociodemographic criteria and to show how diverse can be the audience. It intends to illustrate that visitors have heterogeneous cultural profiles (described by their tastes, cultural and creative activities, and more ordinary leisure), even if they tend to be similar from a socioeconomic viewpoint, and to evaluate which impact these cultural profiles have on the way of visiting a museum.
With the use of a multiple correspondence analysis and an ascending hierarchical classification, six different classes were distinguished among the visitors of six museums of modern and contemporary art in Belgium (N: 1900) according to their cultural profiles. Each cultural profile is considered as a bricolage of different cultural repertoires: low versus high culture (Bourdieu), univores versus omnivores (Peterson), voraces versus non-voraces (Sullivan & Katz-Gerro), classical versus young culture and traditional versus modern values. Instead of observing an unidirectional change from snobs to omnivores, my results suggests indeed that several repertoires interact with one another to structure cultural profiles and to give meaning to them. Finally, with selected interviews among the different six classes, it will be demonstrated that people with an analogous cultural profile tend to share similar interpretations of museums and act as "interpretative communities" (Fish; Hooper-Greenhill). Therefore, the meaning of a museum visit for visitors requires taking into account their cultural profiles.
Doctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished
Goncerut-Bertola, Carinne. "Musées de lac, entre sciences et sociétés : Etude de cas, le Musée du Léman". Paris, Muséum national d'histoire naturelle, 2005. http://www.theses.fr/2005MNHN0015.
Texto completo da fonteMartin, Thérèse. "L'expérience de visite des enfants en musées de sciences dans le cadre des loisirs : logiques d'interprétation et enjeux d'un dispositif communicationnel". Phd thesis, Université Charles de Gaulle - Lille III, 2011. http://tel.archives-ouvertes.fr/tel-00783563.
Texto completo da fonteLivros sobre o assunto "Musées de société"
Techniques et cultures au musée: Enjeux, ingériérie et communication des musées de société. Lyon: Presses universitaires de Lyon, 1997.
Encontre o texto completo da fonteFédération des écomusées et des musées de société (France), Observatoire des politiques culturelles (Grenoble, France) e Musée dauphinois, eds. Musées et société, aujourd'hui: Actes du colloque tenu les 24 et 25 mai 2007 à Grenoble au Musée dauphinois. Grenoble: Musée dauphinois, 2008.
Encontre o texto completo da fonteBernard, Miège, ed. Questionner la société de l'information. Paris: Hermes Science Publications, 2000.
Encontre o texto completo da fonteThe representation of the past: Museums and heritage in the postmodern world. London: Routledge, 1992.
Encontre o texto completo da fonteLe musée exposé. Paris: Lignes, 2016.
Encontre o texto completo da fonteStépanoff, Pierre. Le musée avant le musée: La Société des beaux-arts de Montpellier (1779-1787). Gand: Snoeck, 2017.
Encontre o texto completo da fonteStewards of the nation's art: Contested cultural authority, 1890-1939. Toronto: University of Toronto Press, 2010.
Encontre o texto completo da fonteMusée des confluences (Lyon, France), ed. La fabrique du musée de sciences et sociétés. Paris: La Documentation Française, 2011.
Encontre o texto completo da fonteClark, Lygia. Lygia Clark: Fundació Antoni Tàpies, Barcelona, 21 octubre-21 dicimbre 1997, MAC, galeries contemporaines des Musées de Marseille, 16 enero-12 abril 1998, Fundação de Serralves, Oporto, 30 abril-28 junio 1998, Société des Expositions du Palais des Beaux-Arts, Bruselas, 24 julio-27 setiembre 1998. Barcelona: Fundació Antoni Tapies, 1998.
Encontre o texto completo da fonteRéunion des musées nationaux (France) e Fundació Antoni Tàpies, eds. Lygia Clark: Fundació Antoni Tàpies, Barcelona 21 octobre--21 décembre 1997, MAC, galeries contemporaines des Musées de Marseille 16 janvier--12 avril 1998, Fundação de Serralves, Porto 30 avril--28 juin 1998, Société des Expositions du Palais des Beaux-Arts, Bruxelles 24 juillet--27 septembre 1998. [Paris]: Réunion des Musées Nationaux, 1998.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Musées de société"
Bénazeth, Dominique. "D’un continent à l’autre, complémentarité de trois grandes collections d’art copte : Toronto (The Royal Ontario Museum), Le Caire (musée Copte), Paris (musée du Louvre)". In Journal of the Canadian Society for Coptic Studies (Volume 1), editado por Ramez Boutros, 75–86. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463224974-009.
Texto completo da fonteToelle, Jutta. "10. Is It Time for Brahms, Again?" In Classical Music Futures, 191–204. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.10.
Texto completo da fonteDumoulin, Cécile. "Métamorphoses des musées de société". In Métamorphoses des musées de société, 153. La Documentation française, 2017. http://dx.doi.org/10.3917/ldf.cheva.2017.01.0153.
Texto completo da fonteBernasconi, Gianenrico. "Métamorphoses des musées de société". In Métamorphoses des musées de société, 101–4. La Documentation française, 2017. http://dx.doi.org/10.3917/ldf.cheva.2017.01.0101.
Texto completo da fonte"Métamorphoses des musées de société". In Métamorphoses des musées de société, 205–6. La Documentation française, 2017. http://dx.doi.org/10.3917/ldf.cheva.2017.01.0205.
Texto completo da fonteHaworth, John. "Métamorphoses des musées de société". In Métamorphoses des musées de société, 167–73. La Documentation française, 2017. http://dx.doi.org/10.3917/ldf.cheva.2017.01.0167.
Texto completo da fonteMartinez, Emmanuel. "Métamorphoses des musées de société". In Métamorphoses des musées de société, 127–32. La Documentation française, 2017. http://dx.doi.org/10.3917/ldf.cheva.2017.01.0127.
Texto completo da fonteMazé, Camille. "Métamorphoses des musées de société". In Métamorphoses des musées de société, 77–94. La Documentation française, 2017. http://dx.doi.org/10.3917/ldf.cheva.2017.01.0077.
Texto completo da fonteGourarier, Zeev. "Métamorphoses des musées de société". In Métamorphoses des musées de société, 191–93. La Documentation française, 2017. http://dx.doi.org/10.3917/ldf.cheva.2017.01.0191.
Texto completo da fonteSchinz, Olivier. "Métamorphoses des musées de société". In Métamorphoses des musées de société, 71–72. La Documentation française, 2017. http://dx.doi.org/10.3917/ldf.cheva.2017.01.0071.
Texto completo da fonteTrabalhos de conferências sobre o assunto "Musées de société"
Dumont d'Ayot, Catherine. "Machines à exposer". In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
Texto completo da fonteGonzález, Ángel José Villa, e Paloma Sánchez Gómez. "Un estudio de público digital para un museo y una sociedad confinada/ A study of a digital audience for a museum and a confined society". In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12215.
Texto completo da fonteSonesson, Göran. "Rhetoric from the standpoint of the Lifeworld". In Le Groupe μ : quarante ans de rhétorique – trente-trois ans de sémiotique visuelle. Limoges: Université de Limoges, 2010. http://dx.doi.org/10.25965/as.3106.
Texto completo da fonteWicaksono, Mochammad Arief. "Language as Symbol System: Islam, Javanese Muslem and Cultural Diplomacy". In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.16-7.
Texto completo da fonteOrozco Varela, Luis Pablo, Mariana Blanco Ortiz, Gustavo Campos Fonseca, María Cubillo González e Javier Nuñez Marín. "El Museo Dialoga: el museo y la sociedad en comunicación crítica." In Congreso CIMED - II Congreso Internacional de Museos y Estrategias Digitales. Valencia: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/cimed22.2022.15643.
Texto completo da fonteFarahat, Waleed, e Hugh Herr. "Workloop Energetics of Antagonist Muscles". In Conference Proceedings. Annual International Conference of the IEEE Engineering in Medicine and Biology Society. IEEE, 2006. http://dx.doi.org/10.1109/iembs.2006.260081.
Texto completo da fonteFarahat, Waleed, e Hugh Herr. "Workloop Energetics of Antagonist Muscles". In Conference Proceedings. Annual International Conference of the IEEE Engineering in Medicine and Biology Society. IEEE, 2006. http://dx.doi.org/10.1109/iembs.2006.4398236.
Texto completo da fonteCardoso, Eduardo, Sérgio Leandro dos Santos, Fábio Pinto da Silva, Fábio Gonçalves Teixeira e Tânia Luísa Koltermnann da Silva. "Tecnologias Tridimensionais para Acessibilidade em Museus". In XVII Conference of the Iberoamerican Society of Digital Graphics - SIGraDi: Knowledge-based Design. São Paulo: Editora Edgard Blücher, 2013. http://dx.doi.org/10.5151/despro-sigradi2013-0085.
Texto completo da fonteQibing Pei. "Artificial muscles based on synthetic dielectric elastomers". In 2009 Annual International Conference of the IEEE Engineering in Medicine and Biology Society. IEEE, 2009. http://dx.doi.org/10.1109/iembs.2009.5334480.
Texto completo da fonteIbragimova, N. N., M. V. Ageeva, N. E. Mokshina, O. V. Gorshkov, G. A. Pozhvanov e T. A. Gorshkova. "Are fibers “the muscles” of plants?" In IX Congress of society physiologists of plants of Russia "Plant physiology is the basis for creating plants of the future". Kazan University Press, 2019. http://dx.doi.org/10.26907/978-5-00130-204-9-2019-183.
Texto completo da fonteRelatórios de organizações sobre o assunto "Musées de société"
A Beautiful Horizon: The Arts of Minas Gerais, Brazil. Inter-American Development Bank, fevereiro de 2006. http://dx.doi.org/10.18235/0006396.
Texto completo da fonteTwo Visions of El Salvador. Inter-American Development Bank, setembro de 2000. http://dx.doi.org/10.18235/0006436.
Texto completo da fonte