Teses / dissertações sobre o tema "Museum workers"
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1
McCall, Vikki. "The 'chalkface' of cultural services : exploring museum workers' perspectives on policy". Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/9798.
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The difficulties faced by services in the cultural sector have been immediate and challenging. Public services that are cultural in nature have faced funding cuts, closures and redundancies. Museum services are low in political importance and unable to provide clear evidence of their policy impact. Despite these challenges, there has been limited evidence about the policy process at ground-level. This thesis builds on theoretical and empirical ideas in social and cultural policy to present museum workers’ perspectives within a cultural theory framework. Following Lipsky’s (1980) work on street-level bureaucrats, this thesis presents an analysis of street-level workers’ roles in delivering social and cultural policy. Museum workers’ perspectives are presented through a series of case studies (drawing on qualitative interviews and observations) from three local-authority museum services in England, Scotland and Wales. The findings showed evidence that top-down cultural and social policies have had an influence on workers actions, but service-level workers’ understandings were central to the policy process. Museum workers actively shaped museum policy through ground-level interactions with visitors and groups. Workers experienced policy in the cultural sector as fragmented, vague and difficult to engage with at the ground-level. Workers mainly viewed policy as meaningless rhetoric. Despite this, those working at ground-level often utilised policy rhetoric effectively to gain funding and manipulate activities towards their own needs and interpretations. Policy evaluation was also fragmented and underdeveloped within the services studied. Workers found themselves under pressure to fulfil policy objectives but were unable to show how they did this. Furthermore, there was a perceived distance from managers and local authority structures. This allowed a space for workers to implement and shape policy towards their own professional and personal ideals. Vague policies and a lack of formal mechanisms for evaluation led to high levels of worker discretion at ground-level. Economic policy expectations were resisted by workers, who tended to have more egalitarian views. Museum workers effectively managed policy expectations through a mixture of discretion and policy manipulation. Delivery at the ground-level was seen as effective – despite, not because of, cultural sector policies.
2
Sanger, Amanda. "REVEALING LIVES: excavating, mapping and interrogating life histories of women clothing workers from District Six (1940 - present)". Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78698.
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This study is a contribution to the programme of memorializing District Six through the site-specific stories that are shared in research, education, and the co-curated spaces of the District Six Museum. When buildings, streets, street names and place names are erased from a landscape; when cultural, economic, religious, and educational spaces are shut down; then people’s connections to place are disrupted, diverted, reimagined, often lost to future linked generations. These connections, however, continue to live on in people’s memories - individual and collective, sometimes lying dormant waiting to be triggered into wakefulness and visibility. In the case of District Six, these memories have lived on as nostalgia about a recent past with the trauma, often, edited out. Consequently, District Six has frequently been rendered as a stereotype - a friendly, unproblematic, tolerant, kanala place, where grand narrative re-enactments provide a sense of closure for some or evokes a sense of renewed anger about the stories not told and the unfulfilled restitution process. The stories of women factory workers are a case in point, where the closing down of factories and the subsequent loss of livelihoods are remembered in two ways. Firstly, through a lens of nostalgia premised on the idea that the past was a better place when we had jobs and could feed our families. Secondly, this recent past is also remembered with a sense of unresolved anger that people are less important than profit margins and real estate - a mentality that resulted in the export of cheap labour factories overseas and gentrification. This study explores the stories of two women clothing workers from District Six. I mapped out the important clothing factories contained in the stories of the two women I interviewed like, for example, the Ensign Factory that was in a section of District Six now rezoned as part of Woodstock. The site and its surroundings have taken on a new corporate brand but still lives with the spectral traces of the old District Six. I make these and other District Six fragments more visible through the stories of Ruth Rosa Phala-Jeftha and Farahnaaz Gilfelleon, using the District Six Museum’s oral history methodology – one steeped in a critical pedagogy where the storytellers have agency and are invited into a co-curated sense-making and interpretive process.Dissertation (MSocSci)--University of Pretoria, 2020.
Historical and Heritage Studies
MSocSci
Unrestricted
3
Tramposch, William Joseph. "A matter of degree : mid-career professional training for museum workers in the United States & Great Britain". W&M ScholarWorks, 1985. https://scholarworks.wm.edu/etd/1539618305.
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What are the differences between the continuing education programs for museum workers in the United States and Great Britain, and what do these distinctions reveal about the ways in which the role of the museum worker is perceived in these respective countries?;This study will: (1) analyze the literature surrounding these questions, literature ranging in topics from the sociology of professions to descriptions of mid-career training options, (2) compare and contrast the museums, museum studies programs, and continued learning schemes for museologists, and, finally, (3) examine the differences and similarities between two representative programs, one for each country: the Seminar for Historical Administration and the Diploma Scheme of the Museums Association in Great Britain. From these comparisons both general and specific, the investigation will conclude with an interpretation of the differences in so far as they shed light on the varying perceptions of the museum worker in the United States and Great Britain.;In the United States, museum workers are exposed to a seemingly unlimited array of mid-career training options, a veritable smorgasbord of professional learning opportunities of varying quality and usually offered by agencies quite independent of the academy. "Contest" mobility prevails. The programs are responsive to an ever-changing market. While, in Great Britain, only a few options are available, most notable is the diploma scheme with its university affiliations. When compared to the American system, a semblance of "sponsored" mobility prevails, and one is struck by the limited, single-level and insulated nature of the programs available. This dissertation identifies these distinctions and expands on their significances as they pertain to current perceptions of the museum workers in each country.
4
Clapis, Pacheco Chaves Maria Luiza. "Le Musée du Mouvement des Sans Terre au Brésil : l'émergence d'un nouveau type de musée et d'une nouvelle muséologie". Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30027.
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Dans ce travail, il s’agira tout d’abord de concevoir un musée du Mouvement des Travailleurs Ruraux Sans Terre au Brésil. La lutte des sans terre est l’un des phénomènes sociaux et politiques les plus importants de notre histoire. Le Mouvement des Sans Terres (MST), pilier de la mobilisation populaire au Brésil, est la plus importante référence dans la lutte contre l’inégalité sociale et le néolibéralisme dans la mesure où celui-ci conduit à un approfondissement du processus de concentration de richesse, inhérent au système capitaliste, et des inégalités socio-économiques. Dans un premier temps, nous analyserons la conception de ce musée, ses caractéristiques, ses objectifs, son importance pour le développement social, économique et politique du Brésil et les possibilités de sa création dans ce pays. Nous verrons que le Musée du MST que nous concevons est un nouveau type de musée, que nous avons défini comme un Musée de Lutte, avec une nouvelle muséologie que nous dénommions de Muséologie de la Contemporanéité. Celle-ci suggère la nécessité d’adéquation ou d’actualisation des objectifs des musées sociaux, issus du mouvement de la Nouvelle Muséologie des années 1970-80, prenant en compte les problèmes et les aspirations collectives de notre temps. Nous essaierons de comprendre pourquoi les musées de la Nouvelle Muséologie sont devenus inefficaces du point du vu de leurs objectifs initiaux et comment la Muséologie de la Contemporanéité peut les aider à sortir de l’inertie et à les faire jouer de manière plus effective leur rôle de levier social et politique. Enfin, nous espérons, avec la conception du Musée de Lutte et de sa Muséologie de la Contemporanéité, ouvrir des nouvelles perspectives pour le développement de la muséologie sociale, dans laquelle il s’inscrit. Une muséologie politiquement engagée, au service de la construction d’un monde meilleur, de la dignité humaine, de l’égalité et de la justice socialeIn the present work, we aim, first and foremost, to conceive a museum of the Landless Rural Workers Mouvement (MST) in Brazil. The struggle of the landless is one of the most important social and political phenomena in the history of this country. The Mouvement, mainstay of the popular mobilisation in Brasil, is the main reference in the figth against social inequality and neoliberalism, a force that leads to a strengthening in the concentration of wealth, inherent to the capitalist system, and socioeconomic disparities. First, we analyse the conception of this museum, its feautures, objectives, its importance for the social, economic and political development of Brazil and the feasibility of its implementation. We will see that the MST Museum presents a new kind of museum, one we define as a Struggle Museum, within de contexte of a new museology designated as Museology of Contemporaneity. This new museology highlights the need to adapt or update the objectives of social museums, wich were stablished by the New Museology mouvement of 1970-1980, in order to take into account the problems and collective aspirations of ours time. We will try to understand why the museums of New Museology have become ineffective relative to their original goals and how the Museology of Contemporaneity can provide a way out of a situation of inertia and help them play their role as social and political levers more effectively. Finally, with the conception of the Struggle Museum and its Museologie of Contemporaneity, we hope to open up new perspectives for the development of social museology, wherein it operates ; a politically-engaged museology in service of the creation of a better world, of human dignity, equality and social justice
5
El-Amin, Cheryl W. "Personal and professional spirituality: Muslim social workers' perspectives". ScholarWorks, 2009. https://scholarworks.waldenu.edu/dissertations/676.
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Research in the area of religion and spirituality in social work practice is lacking minority practitioner representation. This phenomenological study explored the questions of how American Muslim social workers define and experience the religious/spiritual, and perceive the propriety of integrating either, in practice. Ibn Khaldun and Durkheim, early social theorists, suggested that group feeling and affiliation impact personal and professional perception and decision making. American societal views of Muslims are often negative and uninformed. A group of 15 Muslim practitioners with bachelor's or more advanced degrees in social work were recruited through a survey administered via an Internet survey site. In depth telephone interviews were conducted that clarified personal and professional descriptions and experiences of the religious/spiritual. Transcript statements were critically reviewed for range of meaning (horizonalization) and reduced to their thematic essences following the phenomenological thematic analysis paradigm. Trustworthiness of the study was verified through ongoing bracketing of the researcher's assumptions and maintenance of a data collection journal. Findings indicated that participants favored a client-centered approach based on the social work standard of self determination. Most participants differentiated and acknowledged the value of spirituality more than religion in practice. Practitioners, cognizant of possible negative interpretations of Muslims and Islam, rely on the client to initiate religious themes in therapy. This finding suggests the need for future study of client views. Implications for social change are evidenced in the clients' assurance that Muslim practitioners' professional integration of the religious/spiritual is client driven and bound by competent social work ethical practice.
6
Tolley, Rebecca. "Review of Art Museum Image Gallery". Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5631.
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7
Edwards, Deborah. "Understanding the organization of volunteers at visitor attractions". View thesis, 2005. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050927.114921/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2005.A thesis submitted to the University of Western Sydney in partial fulfilment of requirements for the degree of Doctor of Philosophy from the College of Law and Business. Includes bibliography.
8
Blanco, Maria Cristina. "Museu casa da xilogravura de Campos do Jordão: colaboração para formação inicial de professores de artes". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-27092017-115108/.
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O presente trabalho tem como foco principal estudar o Museu Casa da Xilogravura da cidade do Campos do Jordão. Uma questão foi desenvolvida a partir da colaboração da Arte/educação nas ações educativas do Museu: Quais as possibilidades educativas do Museu Casa da Xilogravura para a formação inicial de professores de Arte Visuais? Resgataram-se informações sobre o Festival de Inverno de Campos do Jordão, como medida para reestabelecer relações com as ações contemporâneas sugeridas nesta pesquisa: a ligação da formação de professores em Artes Visuais com a cidade de Campos do Jordão, como também com suas cercanias. Outros assuntos pertinentes ao trabalho foram desenvolvidos como, por exemplo, os estudos sobre a abordagem do ensino superior, elaborados pelos professores Paulo Freire e Thierry De Duve, que embasaram a discussão sobre a formação inicial de professores de artes. Breve estudo sobre a legislação no ensino da arte foi escrito para reflexões sobre as políticas públicas no Ensino Superior. Um recorte de estudo sobre a importância do trabalho educativo dos museus como formação de um conceito, bem como um recorte histórico do Educativo dos primeiros museus paulistas, também consta deste trabalho. Foram desenvolvidos estudos sobre Curadoria Educativa e museu, e acervos digitais, devido às suas relações com a proposta da tese. Foi feito um levantamento de trabalhos com bases no Projeto Observatório da Formação de Professores que versavam a respeito da Educação em Museus no âmbito da graduação, que por sinal notou-se uma quantia bem pequena na pesquisa. Um pequeno histórico a respeito da formação do acervo do Museu Casa da Xilogravura foi realizado, por meio de informação bibliográfica, documental e depoimentos orais. Foram atualizados os dados quantitativos referentes às visitações presenciais dos estudantes de Ensino Básico ao Museu, assim como a maneira pela qual o visitante espontâneo acessa as informações sobre a Instituição. Um aprofundamento a respeito da Leitura da Obra de Arte, no âmbito da Abordagem Triangular do Ensino da Arte de Ana Mae Barbosa, e o Desenvolvimento Estético foi pensado sob à luz dos conceitos de quatro pesquisadores: Edmund B. Feldman, Robert W. Ott, Michael J. Parsons e Abigail Housen. Construiu-se um modelo autônomo, porém com bases nessas teorias, que levou a uma proposta de Material de Apoio ao professor em Artes Visuais, a ser oferecida às Instituições de Ensino Superior das regiões do Vale do Paraíba, sul de Minas Gerais e Rio de Janeiro. Este material apresenta a obra de Lasar Segall, chamada \"Casal no Mangue\", de 1929, xilogravura impressa em papel, que faz parte do acervo do Museu Casa da Xilogravura.The current dissertation focuses mainly on studying the Woodcutting House Museum in the town of Campos do Jordão. A question was raised regarding the Arts/Education cooperation related to the teaching activities of this museum: \"What are the educational possibilities of the Casa da Xilogravura Museum for the initial training of Visual Art teachers?\". Information was gathered on the Festival de Inverno de Campos do Jordão (Winter Festival of Campos do Jordão) as parameters to reestablishing the relationships with current actions in which we suggest in this research a link between the visual arts teacher training and the town of Campos do Jordão, as well as its surroundings. Other pertinent issues were also considered, such as the approach to advanced studies elaborated by the professors Paulo Freire and Thierry De Duve as the basis for the discussion about the initial training of arts teachers. Brief study on legislation in the teaching of art was written for reflections on public policies in Higher Education. This paper comprises a cross section of the importance of the teaching work of the museums as basis of a concept, as well as a historic cross section on the teaching aspect of the first museums of the State of São Paulo. Studies on Educational Curatorship and Museum and digital collections were developed based on the relations we suggest on this thesis. A survey was carried out on the basis of the Observatory Project for Teacher Training, which dealt with the Education in Museums within the scope of graduation, which, by the way, was a very small amount in the research. A brief record on the development of the collection belonging to the Casa da Xilogravura Museum was made using bibliographic, documental and oral statement information; and we updated the quantitative data regarding personal visits of Fundamental School students to the Museum, as well as how the spontaneous visitor accesses the existing information on it. The study thoroughly contemplates the reading of the works-of-arts within the scope of the Triangular Approach of Arts Teaching by Ana Mae Barbosa; also, the Aesthetic Development was regarded in the light of the concepts of four researchers: Edmund B. Feldman, Robert W. Ott, Michael J. Parsons and Abigail Housen. We built an autonomous model based on these theories, which led us to propose Support Materials to the Visual Arts teacher which should be offered to the Colleges of the regions of Vale do Paraíba, South of Minas Gerais and South of Rio de Janeiro. This material presents the work of Lasar Segall, called \"Couple in the Mangue\", 1929, woodcut printed on paper, which is part of the collection of the Casa da Xilogravura Museum.
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Edwards, Deborah. "Understanding the organization of volunteers at visitor attractions". Thesis, View thesis, 2005. http://handle.uws.edu.au:8081/1959.7/30804.
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This thesis investigates how volunteers are organized at visitor attractions. It focuses on museums and art museums; non-profit institutions that manage large volunteer programs. The study addresses five important issues : 1/ in what context do museums and art museums operate; 2/ why people are motivated to volunteer for these institutions; 3/ what is the extent to which the institution interacts with its external environment and how this affects organizing routines of volunteers; 4/ what is the relationship between volunteer motivation, interest dissatisfaction and value commitments; and 5/ how this understanding can result in the better management of volunteers. Two attractions in New South Wales and one in the Australian Capital Territory were investigated. The author collected data on field activities of volunteer managers and coordinators, and administered a questionnaire to the total population of volunteers in these three attractions. The thesis contributes to a more holistic understanding of volunteers that offers a critical theoretical extension to tourism, institutional and neo-institutional literature.
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Loury, Sharon D. "History of Nursing and Partnership with the Museum at Mtn. Home". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/8191.
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Tolley, Rebecca. "Review of Chicago History Museum, Digital Collection: Costume and Textile Collection". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/5646.
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Lembersky, Yelena. "Transformation of painting into architecture : museum for the works of F. Lembersky". Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/68284.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1994.Includes bibliographical references (p. 89-91).
Art and architecture share a common goal and similar formal principles. Their common goal is to express and abstract spiritual content through harmonious, pure and beautiful material form. The shared principles of form generation in art and architecture are abstraction, dematerialization, organization and construction of space. The similarity of purpose and formal principles allow art and architecture to inform each other. Artists have employed architectural elements as pure abstract form, and architects have applied art to formulate architectural intentions and resolve formal architectural problems. As well, artists and architects have collaborated often in the creation of single artistic or architectural projects. This thesis introduces a method of transforming painting into architecture. The formal methods found in selected paintings of the Russian painter Felix Lembersky (1913-1970) are used to generate the architectural form for the museum of these same paintings. The intention is to derive a form which is both rooted in architectural principles and is expressive of the art works to be exhibited within the museum.
by Yelena Lembersky.
M.Arch.
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Sirota, Barbara Haley. "A study of three volunteer programs /". Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11792255.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1995.Includes tables. Typescript; issued also on microfilm. Sponsor: Herv[symbol] Varenne. Dissertation Committee: Paul Byers. Includes bibliographical references (leaves 201-205).
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Baker, Joseph O., e Joseph O. Baker. "Dinosaurs, Diagrams, and Diabolic Darkness: Sexual Politics in the Creation Museum and among the American Public". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2595.
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Ross, C. S. "Radical trust works : an investigation of digital visitor generated content and visitor engagement in museum spaces". Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1458024/.
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Visitor generated content projects are becoming increasingly significant in the development and delivery of engaging visitor experiences in museums in the UK, but the rationale behind them and the impact they are having on not only visitor engagement but also museum practice are not always clear. There is a requirement to understand and articulate the impact of digital visitor co-creation in the museum environment and to discuss the challenges of implementing digital innovation projects in museums and the implications this has on institutional change. This thesis presents an investigation into the potential of digital visitor generated content applications in museum spaces to foster visitor engagement. The study emphasises that in order to develop engaging digital visitor generated content applications, museums must radically trust their visitors. As part of this research two digital visitor generated content systems were designed, tested, implemented and evaluated in three museums in the UK; the Grant Museum of Zoology, UCL, the Imperial War Museum, London and the Imperial War Museum North, Manchester. This thesis discusses the process of inception to evaluation of these applications and considers their impact on visitor engagement and goes on to investigate the challenges they bring to implementing digital innovation in a museum environment. Two key issues came out of the research into digital visitor generated content; the importance of radical trust and the fact that post moderation with digital visitor generated content does work. Additionally this thesis identified a number of challenges about the way that digital innovation projects are conducted and how they could be overcome, and finally some recommendations are offered for museums seeking to undertake digital innovation projects in the future.
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MOURA, MARIA TERESA JAGUARIBE A. DE. "ART AND CHILDHOOD: AN STUDY ABOUT THE INTERACTIONS BETWEEN CHILDREN, ADULTS, AND WORKS OF ART IN MUSEUM". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7000@1.
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Esta pesquisa foi realizada no Museu de Arte Moderna do
Rio de Janeiro no ano
de 2004, tendo como foco de atenção as crianças, os jovens
e os professores
que aderiram, em visitas escolares, ao Programa Educativo,
e os profissionais
responsáveis por esse atendimento. A partir da observação
direta de registros
escritos e de imagens, buscou conhecer e compreender as
interações entre crianças,
jovens, adultos e obras de arte no espaço do Museu e
refletir sobre essas
interações no que se referem ao desenvolvimento da
sensibilidade estética e da
capacidade de apreciação crítica. Reconhecendo a infância
como uma construção
social e compreendendo as crianças e jovens como atores
sociais, procurou,
no referencial teórico da Sociologia da Infância, na
filosofia antropológica de
Walter Benjamin e na psicologia de Lev Semenovich
Vigotsky, as bases fundamentais
de interpretação. Ao perceber a arte como fonte da
subjetividade humana,
patrimônio e direito a ser legitimado, e o museu e a
escola como parceiros
potenciais na tarefa da formação artística e cultural de
todos, a pesquisa procurou,
nas redes de significado que se formam entre os indivíduos
envolvidos e as
obras de arte expostas, subsídios para a construção de um
texto que se inspira
na etnografia como metodologia para a descrição e análise
da realidade observada.This research was realized at the Museum of Modern Art in Rio de Janeiro in 2004, having its main interest in the children, youngsters and teachers that joined, during school visits, its Educational Program, as well as the professionals who attended the visitors. This paper sought to understand the interactions between children, youngsters, adults and works of art within the space of the museum and reflect about those interactions concerning the aesthetic sensitivity and critical appreciation through direct observation, visual and written records. Recognizing childhood as a social construct and understanding the children and youngsters as social actors, sought theoretical references in the sociology of childhood, in the anthropological philosophy of Walter Benjamin and in the psychology of Lev Semenovich Vigotsky the fundamental bases for its interpretation. Understanding art as a source of human subjectivity and legitimate right, as well as the museum and the school as potential partners in the artistic and cultural education of all, this research sought in the meaningful nets woven between every individual involved and the exhibited works of art, resources for writing a text inspired by ethnography as a methodology for the description and analysis of the observed reality.
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MacCulloch, Laura. "Ford Madox Brown : works on paper and archive material at Birmingham Museums and Art Gallery". Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/611/.
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This collaborative thesis focuses on the extensive collection of works on paper and related objects by Ford Madox Brown (1821-1893) held at Birmingham Museums and Art Gallery (BMAG). It is the first academic study to use Brown's works on paper as the basis for discussion. In doing so it seeks to throw light on neglected areas of his work and to highlight the potential of prints and drawings as subjects for scholarly research. The thesis comprises a complete catalogue of the works on paper by Brown held at BMAG and three discursive chapters exploring the strengths of the collection. Chapter one focuses on the significant number of literary and religious works Brown made in Paris between 1841 and 1844 and examines his position in the cross-cultural dialogues taking place in Europe in the mid-nineteenth century. Chapter two uses the dual definition of the word 'construction' to examine how his interpretation of history was affected by contemporary changes in historiography, and to discuss his practical approach to composing a history painting. Chapter 3 studies illustrations he made for publication. Progressing chronologically, it explores his changing attitude towards illustration as a medium and argues that these works had increasing importance for his artistic career. The catalogue is the most up-to-date and informative inventory of the collection and includes new identifications, titles and dates and exegeses.
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Rehman, Tayyiba. "Muslim Feminism : A case-study of Fatima Mernissi's works and thought". Thesis, University of Birmingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497481.
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Girard, Elizabeth. "A Survey of the Martin S. Ackerman Foundation at VCUarts Anderson Gallery". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1982.
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The museum field has changed dramatically in the past thirty years, shifting from museum staff collecting anything and everything to staff collecting with a narrow focus defined within a museum’s collection plan. Today’s museum professionals are faced with a backlog of collection problems such as works that do not fit within the museum’s mission statement, unaccessioned works and a lack of storage due to the overzealous collecting of previous generations. Many museums are now attempting to deal with the problems left by past staff members by going through the collection, piece by piece, and making decisions which shape the collection to better reflect the image of the museum today. I addressed this problem with one collection, the Martin S. Ackerman Foundation Collection, at VCUarts Anderson Gallery at Virginia Commonwealth University in Richmond, VA. This project consisted of locating and inventorying the collection as well as documenting the works to prepare for possible accession into the Anderson Gallery permanent collection. This paper addresses the challenges and outcomes of my collection survey, while providing a model for others to follow in dealing with decades of collections buildup.
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Mameni-Bushor, Sara. ""Failed and Fell: Fell to Fail" : the narration of history in the works of Tacita Dean and Jeremy Deller". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2530.
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This Thesis is concerned with how history is narrated in two selected works by the British artists, Tacita Dean and Jeremy Deller. Chapter one considers Deller's The Battle of Orgreave (2001), a reenactment of a violent miners' strike against Margaret Thatcher's government in 1984-1985. The reenactment brought together reenactment hobbyist and ex-miners to perform the events at Orgreave and created a discourse around the imagined historical role of the working classes. Chapter two examines Dean's book Teignmouth Electron (1999), which recounts the failed voyage of Donald Crowhurst, one of the contestants of the 1967 Golden Globe Race who committed suicide after developing 'time-madness' at sea. She offers the history of this individual as a point of entry into middle-class aspirations in England in the 1960s.
Produced at the turn of the 21st century when Britain's New Labour government was instigating an image of a New Britain to match its bygone glory, both works look back to moments in the past that epitomize the decline of the country's old order. Unearthing instances of failure and defeat, each artist offers an alternative glance at Britain's past and present condition than the one promoted by New Labour.
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Smith, Maria Carmen. "Reaching for Understanding: Exploring the Potential of Four-Year-Old Children to Understand Works of Art". Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4176/.
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This study was designed to examine how four-year-old children might be able to respond and interpret works of art. Informed by Jean Piaget's and Lev Vygotsky's theories of cognitive development, and building on Micheal Parsons' and Abigail Housen's theories of aesthetic development, the study investigated whether or not four-year-olds are able to expand their initial responses to achieve deeper levels of understanding about works of art.
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Savaskan, Durak Nuran. "Non - Muslim Minorities And Turkish National Identity: A Research Through Armenian And Greek Literary Works". Phd thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/2/12605349/index.pdf.
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The purpose of this study is to concentrate on the changing discourses in Turkish history and their constitutive themes in positioning the self–
image of the minorities, i.e., Armenians and Greeks, the Turks being other. The research is carried out on the basis of the literary works produced by the intellectuals / authors of these minorities. The historical context, which is taken as the reference point for these discourses, covers the period from the late Ottoman Period up to the early 1960s. Furthermore, the study explores how the ethnic minorities constructed their identities in the last century. This study also seeks to find out which discourses have been the leading ones through history and to determine the continuities and ruptures in the use of themes by these ethnic groups to construct their identities. In addition, policies and ideologies attributed to the state by the minorities are tackled with the literary works and main discursive elements used by minority groups to (de)construct Turkish national identity are explored.
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Yılmaz, Ferruh. "Ethnicized ontologies from foreign worker to Muslim immigrant : how Danish public discourse moved to the right through the question of immigration /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3310006.
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Thesis (Ph. D.)--University of California, San Diego, 2006.Title from first page of PDF file (viewed September 19, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 366-373).
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Al, Sarhan Saud Saleh. "Early Muslim traditionalism : a critical study of the works and political theology of Ahmad Ibn Hanbal". Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3374.
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The political theology of AÎmad Ibn Íanbal (d. 241/855( is analysed through comprehensive examination of the authenticity of theological and juridical books attributed to him. The eponym of the ÍanbalÐ school (madhhab) of law and theology, AÎmad’s importance lies in his teaching as a jurisprudent and his practices as a zÁhid (renunciant), which attracted many students to his circle. However, he is best known for his reputation as a defender of correct belief, and for firmly resisting the doctrine of three ÝAbbÁsid caliphs that the QurÞÁn was created, although he was imprisoned and beaten during the Inquisition known as al-MiÎnah (between 218/833 and c. 232/847). As a result of AÎmad’s importance, a variety of different opinions and epistles were ascribed to him. Theologically, the most important among these are the Six Creeds and al-Radd ÝalÁ al-ZanÁdiqah wa-al-JahmÐyah which is a polemical epistle. In jurisprudence there were response collections from AÎmad’s students called al-MasÁÞil, eight of which are still extant, either partly or completely. These works are examined in this thesis. AÎmad’s theo-political ideas are critical to understanding the political thought of Sunnism in general, and the study analyses his doctrines on the importance of the JamÁÝah (Community), ÓÁÝah (Obedience) and al-Amr bi-al-maÝrÙf wa-al-nahy Ýan al-munkar (commanding right and forbidding wrong). AÎmad was a quietist thinker, but the main purpose of his quietism was in fact to save the unity of the Muslim community from internal fighting and protect the common people who always lacked security and suffered from threats of looting of their shops and houses. Though a quietist, AÎmad was not in favour of the rulers and avoided all kinds of connections to them, including not accepting their gifts or working with them. He became angry with his family when they accepted the caliph’s money.
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Kamolnick, Paul. "How Muslim Defenders Became “Blood Spilling” Crusaders: Adam Gadahn's Critique of the “Jihadist” Subversion of Al Qaeda's Media Warfare Strategy". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/645.
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Adam Gadahn's Abbottabad letter offers a rare opportunity to examine how this Al Qaeda Senior Leadership (AQSL) media operative and spokesman conceptualizes and executes media warfare. In this article, I first introduce, depict, and employ the author's Terrorist Quadrangle Analysis (TQA) as a useful heuristic for conceptualizing and representing the four interrelated components of the AQSL terrorist enterprise: political objectives, media warfare, terrorist attacks, and strategic objectives. This TQA construct is then employed to conceptualize Gadahn's media warfare acumen. Gadahn is shown to be an adept communications warfare operative who conscientiously disaggregates and evaluates key target audiences, messengers, messaging, and media. Gadahn's vehement critique of select “jihadi” groups, in particular Tehrik-i-Taliban (TTP), al-Shabaab, and the Islamic State of Iraq (ISI), is then described. Key here is how and why Gadahn denounces their indiscriminate, murderous terrorist attacks on Muslim non-combatant civilians and other protected persons as effectively subverting his intended AQSL media warfare strategy and undermining AQSL strategic and religio-political objectives. A concluding section briefly summarizes these chief findings, offers select implications for scholarship and counter-AQSL messaging strategy, and identifies study limitations.
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Gendrich, Cynthia M. "Persona, performance, and comedy : patterns of success and accommodation in the lives and works of Mary Ann Vincent and Louisa Lane Drew /". free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9842584.
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Heizer, Donna K. "Those other Orientals : the Muslim Orient in the works of Else Lasker-Schüler, Friedrich Wolf, and Franz Werfel /". The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487779914827779.
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Ruoso, Carolina. "Nid de frelons : neuf temps pour neuf atlas : histoire d'un musée d'art brésilien (1961-2011)". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H059/document.
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Cette recherche cherche à comprendre comment le musée d'art de l'université du Ceara (MAUC) est devenu un nid de frelons. Afin d'étudier ce phénomène, nous avons analysé les cinquante premières années de sa trajectoire (1961-2011), en partant de l'intrigue sur les modèles de musée en dispute à la fin du XXème siècle dans la ville de Fortaleza, et aussi à parti des controverses autour de sa mémoire. Nous avons organisé notre récit en Neuf temps pour neuf Atlas, en analysant ce nid de frelons de l'intérieur et de l'extérieur, en le prenant à l'envers à rebrousse-poil. Pour cette raison, nous présentons le MAUC au travers de ses coulisses, en observant par-derrière les vitrines quels sont les caractéristiques et les mouvements propres de cette désignation. Pour nous, un musée nid de frelons est traversé par la mise sous silence, en même temps qu'il développe des pratiques communautaires et collaboratives qui sont constitutives de sa trajectoire, contribuant à l'élaboration conceptuelle élargie de ses processus curatoriaux. Dans cette thèse, nous démêlons les aspects conceptuels qui justifient la création du MAUC. Au travers d'une lecture de la circulation de savoirs, d'œuvres d'art et d'exposition nous établissons une cartographie des réseaux de relations mobilisés par ce musée au travers de son programme structurel. Nous enquêtons sur les possibilités de création artistique dans l'espace physique du musée et sur les dimensions de collaboration proposées par l'institution en ce qui concerne la fabrique d'expositions et d'œuvres d'art. Nous cherchons aussi à identifier les formes de voir et d'être des visiteurs dans le MAUC au travers du regard des photographes de vue d'expositionThis research sought to understand how Museum de Arte da Universidade do Ceara (MAUC) has become a Hornets House. In order to elaborate this explanation, we observed fifty years of it history (1961-2011), starting from the intrigue about the museum models in dispute in the late twentieth century, in Fortaleza city, as well as about the controversies involving its memory. So we organized our narrative in Nove Tempos para Nove Atlas, trying to analyze this Hornet House inside out, against the grain, and for this reason we present the MAUC through it scenes, watching from behind the windows, which are the characteristics and movements to this adjective. We understand that a Hornets House Museum goes through silence, while develop community and collaborative practices that take part of its history, contributing to the broad conceptual elaboration of its curatorial process. In this thesis we unfold its conceptual aspect that justified the creation of MAUC. We traced through a reading on knowledge circulation works of art and exhibitions, a mapping of relationships networks mobilized by this museum through its structural program. We investigate the possibilities of artistic creation in the physical museum space and the dimensions of cooperation proposed by the institution regarding expositions and works of art. We also try to identify the ways of seeing and being of the visitors at MAUC through the eyes of photographers while viewing exposures
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Sternberg, Ilse. "Policies for the acquisition of printed books at the British Museum Library, 1837-1960 : with particular attention to the procurement of works from Africa, Asia, the Caribbean and Latin America". Thesis, University College London (University of London), 1991. http://discovery.ucl.ac.uk/1317768/.
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Using Panizzi's 1837 declaration to the Trustees of the British Museum as the model, the acquisitions policy for a national library is a statement of the need to acquire the national printed archive followed by an indication of the desirable coverage of foreign publishing. Minimum requirements to achieve this are adequate finance, a knowledgeable staff, sufficient space for both the staff and the collections and the ability to make resources available. The role of Panizzi in ensuring the status of the British Museum Library as the national collection has been well documented. Less well known is the part played by his subordinates and successors in helping him and in ensuring that his ideals were implemented and amplified. The more notable of these have been neglected by library history, the more pedestrian completely forgotten. The period from the later 1850s through the 1880s were years of liberal funding and acquisitions growth matched only by that of the first decade of the British Library. It seems possible that even the recent halcyon days will not match the extraordinary development of the collections during the earlier period. Legal deposit, even though difficult to enforce overseas, and a system of international exchanges played an important role when government was forced to curtail the generous grant. It is not feasible to draw firm conclusions about the percentage of world publishing acquired by the British Museum Library as most countries do not yet have accurate figures for their printed output, nor is it possible to be definite about the quantities procured by the Library since the basis for reporting additions changed frequently. In order to gain a picture of what and how material was obtained it was necessary to make lists of registers and receipt books now in the departmental archives. These lists are reproduced in tables and appendices.
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Maimone, Giovana Deliberali. "Estudo do tratamento informacional de imagens art?sticopict?ricas: cen?rio paulista - an?lises e propostas". Pontif?cia Universidade Cat?lica de Campinas, 2007. http://tede.bibliotecadigital.puc-campinas.edu.br:8080/jspui/handle/tede/808.
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Made available in DSpace on 2016-04-04T18:36:34Z (GMT). No. of bitstreams: 1
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Previous issue date: 2007-12-12The activities that include the informational treatment are broadly studied and applied by Information Science, concerning printed documents, conventionally found in libraries and information centers. However, in relation to imagetic material, specifically the artistic-pictorial works (paintings) situated in different places, there is little literature about the theme, in spite of communicative and documentary importance these materials can offer. Considering image as a source of information and as an element that can be analyzed and represented, the conceptual framework of the area concerning this theme is presented, intending to identify methodologies of informational treatment, specific of this kind of document. In this perspective, with the purpose of evidencing the state of art in Paulista scene, four representative art institutions of the state of S?o Paulo are observed. Analysis and proposals are elaborated in order to adjust the methodologies found in literatures of the area to the national context, taking into account the economic and the social limits. Two essays with two representative works of the studied museums are made to demonstrate the possibility of appliance of the proposals. Finally, the considerations about the theme reveal the situation of documentary backwardness of Brazil in relation to the developed countries, making the position of museums and painting collection galleries clear in relation to the public: the contemplation. On the other hand, this search demonstrates real possibility of changing this framework, through the application of suggested proposals, expressing worries about the generation of knowledge to the user. This research utilized the inductive method, starting of data observer specifically in each museum with the intent of a general reality.
As atividades que compreendem o tratamento informacional s?o amplamente estudadas e aplicadas pela Ci?ncia da Informa??o no que diz respeito aos documentos impressos, convencionalmente encontrados em bibliotecas e centros de informa??o. Por?m, em rela??o aos materiais imag?ticos, especificamente as obras art?stico-pict?ricas (pinturas) situadas em ambientes diferenciados encontram-se escassas literaturas, apesar da import?ncia comunicativa e document?ria que estes materiais podem oferecer. Partindo da concep??o da imagem como fonte de informa??o e elemento pass?vel de ser analisado e representado, apresenta-se o quadro conceitual da ?rea no que concerne a esta tem?tica, intentando identificar metodologias de tratamento informacional espec?ficas desta tipologia de documento. Nesta perspectiva, com o prop?sito de evidenciar o estado da arte em cen?rio paulista, recorre-se ? observa??o de quatro institui??es de arte representativas do estado de S?o Paulo. An?lises e propostas s?o elaboradas a fim de adequar as metodologias encontradas na literatura da ?rea ao contexto nacional, considerando os limites econ?micos e sociais. Para demonstrar a possibilidade de aplica??o destas propostas, s?o realizados dois ensaios com duas obras representativas dos museus estudados. Por fim, as considera??es revelam a situa??o de atraso document?rio do Brasil em rela??o aos pa?ses desenvolvidos, tornando clara a posi??o dos museus e pinacotecas em rela??o ao p?blico: a contempla??o. Em contrapartida, esta pesquisa demonstra clara possibilidade de modifica??o deste quadro, atrav?s da aplica??o das propostas sugeridas, manifestando preocupa??es quanto ? gera??o de conhecimentos para o usu?rio. Utilizou-se para esta pesquisa o m?todo indutivo, partindo-se de dados observados especificamente em cada museu com o intuito de se chegar a uma realidade gen?rica.
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Kamolnick, Paul. "The Mysterious Case of the Islamic State Organization (iso) Smiling Martyr--Solved". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/643.
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Excerpt: For a mere Muslim mortal, Allah’s granting of martyrdom (Shahada) is the pinnacle of spiritual achievement. The martyr (Shahid) is granted unique privileges among which are the right to bypass the moral interrogation meted out to determine after death whether one is spiritually fit; the complete freedom from all anguish, pain, and suffering caused by one’s wounds as one immediately traverses into the highest of seven heavens; the right to intercede and request divine favors on behalf of seventy of one’s loved one’s; the enjoyment of exclusive sexual privileges with seventy-two virgins; and finally, the right to exist within the proximity of the All Mighty Allah and an eternity spent in enjoyment of the sumptuous delights of a blessed paradise.
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Faraut, Ruelle Sandrine. "Les musées en province de la Révolution à la Libération (1789-1945) : l'exemple du Sud-Est et de la Corse". Thesis, Nice, 2015. http://www.theses.fr/2015NICE0015.
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Le sujet de cette thèse concerne les musées, la plus ancienne et la première institution culturelle en France. En choisissant de prendre l'exemple du Sud-Est, il s’agira de démontrer que les hommes politiques et les hommes de culture, localement et à l’instar du niveau national, ont pris conscience, dès la période révolutionnaire, du besoin de protéger les biens culturels en créant des institutions muséales. Ce sont donc les rapports complexes entre art, société et politique que nous tenterons de retracer. Nous ferons ressortir le particularisme culturel régionalThe subject of this thesis concerns museums, the oldest and the first cultural institution in France. By choosing to take the example of the South-East, it will be a question of culture, locally and following the example of the national level, became aware, from the revolutionary period, of the need to protect cultural property by creating museum institutions. It is thus the complex relationships between art, society and policy which we shall try to redraw. We shall highlight the regional cultural sense of identity
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Wolens, Sylvia E. (Sylvia Elaine). "The Effects of a Short-Term Videotape Training Program for Guides Conducting Older Adults on Tours in Public Spaces". Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331875/.
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The problem of this study was a test of a specific videotape designed to influence the actions of tour guides for older adult groups. The purposes of the study were to observe guide performances and older adult responses before and after training in techniques for sharing information with older adults in public spaces. The hypotheses were tested. 1) Guides after training would exhibit significant differences in behaviors of pointing, repeating, pausing, questioning, conversing, facing art when talking, talking inaudibly, pacing rapidly. 2) Older adult drop-outs would decrease on tours with especially trained guides.
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Rasco, Clark Joseph. "Demographic trends in the European Union: political and strategic implications". Thesis, Monterey California. Naval Postgraduate School, 2004. http://hdl.handle.net/10945/1526.
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Approved for public release, distribution is unlimitedThis thesis analyzes adverse demographic trends in the European Union, including sub-replacement birthrates and increasing median ages. It investigates the implications of these trends for the EU's prospects for becoming a stronger and more influential actor in international affairs. Pressures arising from population trends in and near the EU could ultimately affect national and EU cohesion, governmental effectiveness, and social stability. Absent remedial measures, social programs in some EU countries will be unsustainable due to the mounting financial burden of pensions and health care for growing elderly populations. Such financial obligations hinder funding other national programs, including modernized military capabilities. Nationalism and national identity are at issue in immigrant integration and assimilation efforts. The role of population trends with regard to the growing threat of radical Islamic fundamentalism is explored. The thesis concludes with policy recommendations that might be considered to avert the looming economic, social, and security crises that may result from these demographic trends. In short, the security and financial consequences foreshadowed by the current demographic trends of an aging, economically weaker, and socially conflicted European Union could present dramatic implications for the vital national interests of the United States.
Lieutenant, United States Navy
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Ryu, Christine Y. "The face of museums : the state of docent programs in art museums today /". 2006. http://library2.jfku.edu/Museum_Studies/Face_of_Museums.pdf.
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Moreno, Rachael. "Put your gloves on! : managing volunteers in museum collections /". 2007. http://library2.jfku.edu/Museum_Studies/Put_Your_Gloves_On.pdf.
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Retseck, Hilary A. "Madison, Indiana's saddletree industry and its workers, 1860-1930". Thesis, 2013. http://hdl.handle.net/1805/5098.
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Indiana University-Purdue University Indianapolis (IUPUI)A foreign concept to most twenty-first century individuals, a saddletree provides support and acts as the framework to saddles, giving saddlers a base on which to add cushioning, stretch leather, and create beautiful or functional saddles. Saddletree factories were an integral part of Madison, Indiana’s late nineteenth-century economy. As one of the Ohio River town’s leading industries, saddletree shops employed approximately 125 men during 1879, Madison’s peak saddletree production year, and made Madison a national center of saddletree production. However, the industry faded into oblivion as the beginning of the twentieth century, leaving the men drawn to these shops in the 1870s and 1880s to find new opportunities. While past historians contributed to the fields of industrial and economic history by studying large industries engaged in mass production in major urban areas, Madison’s saddletree workers represent a view of nineteenth-century specialized production. This thesis examines the saddletree industry’s place in Madison during the late nineteenth century and the lives of saddletree workers during and after the industry’s peak. My findings, based off extensive digital research and tools utilized in earlier social mobility studies, create a nuanced view of Madison’s relationship to the saddletree industry, saddletree makers, and what the industry’s collapse meant to saddletree factory employees.
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Ratliff, Jonathan. "The exploration of color theory in museum education using works found in the J. B. Speed Museum's collection /". 2009. http://digital.library.louisville.edu/cgi-bin/showfile.exe?CISOROOT=/etd&CISOPTR=884&filename=885.pdf.
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"Personal and professional spirituality: Muslim social workers' perspectives". WALDEN UNIVERSITY, 2010. http://pqdtopen.proquest.com/#viewpdf?dispub=3366969.
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Doležalová, Monika. "Performance v radikálním politicko-socilálním kontextu od konce 60. let 20. století". Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-347916.
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Chen, Chiu-chu, e 陳秋菊. "Research on the Interpretation Theories and Application of Art Works in an Art Museum". Thesis, 2003. http://ndltd.ncl.edu.tw/handle/66317995121303907702.
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碩士南華大學
美學與藝術管理研究所
91
The gist of this research was to combine the practical experiences of art works interpretation, to discuss the application of art works interpretative theories by means of the dialectic of different doctrines’ perspectives in the relative academic realms toward the art works’ substance, to clarify the limitations of academic theories in proper sequence, to exclude the possible potential bigotry in the knowledge theories, to confirm the adaptability of theories in the research cautiously, and to make theoretical analyses and induction further to be the conclusion. In the first place, I emphasized the principal standpoint of education from an art museum’s foundation organization, and researched art works interpretation’s functions on education and communication by revealing an art museum’s operational property with the goal of education. By going deep into the theories of art works interpretation, I explored art works’ meanings and value in deep layer; from the diversified and crisscross academic fields, I probed into the substance of art works in the boundaries of art history, art criticism, aesthetics, art sociology, and art psychology respectively, grasped the relevant artistic perspectives, combined the experiences of gallery tour guide and interpretation in practice, expounded the application and limitations on arts work interpretation of the theory in each academic sphere, and got to the bottom of each theory and each doctrine’s possible restrictions on arts work interpretation. The objectives of the research consist in expanding the application categories of art works interpretation theories, deeply inspecting and demonstrating the artistic perspectives in relative academic scopes, and providing the thought of another direction for the theoretical connotation of interpreting art works. Moreover, through the art museum spectators’ psychology of art appreciation and the stage-by-stage development of aesthetic appreciation abilities, I investigated the strategies of art works interpretation in response to the spectators’ aesthetic appreciation capacities in order to achieve art works interpretation’s functions on education and communication. 1. The 3rd Chapter: “The Application of the Art History Theory on Interpretation” In view of the explanations of traditional art works interpretation applying to the art history are inapplicable for the modern and avant-garde explanations of the diversified artistic creations, the research analyzed the complexity of multitudinous meanings and the profundity of art works under the evolvement of history and the agitation of the artistic rational concepts while making comments on the paintings, and discussed in which way the gallery tour guide and interpretation can penetrate through and connect the traditional, the modern, and the contemporary artistic outlooks of history with so many historical outlooks. 2. “The 4th Chapter: The Application of the Art Criticism Theory on Gallery Tour Guide and Interpretation” The art criticism of the research covered two aspects: First, starting from art works to clutch art works’ features with the steps of description, analyses, interpretation, and judgment, etc.. Second, beginning from the angle of a spectator to explore the acceptability of art works through the criteria of aesthetic appreciation, and giving consideration to both subjective and objective ideas to appraise art works. On the other hand, I probed into the political and social mechanisms that affect the artistic creation and the interpretation of the inner value of art works from two major aspects of art works interpretation and evaluative criticism to be the bases of value judgment. 3. “The 5th Chapter: The Application of the Aesthetics Theory on Art Works Interpretation” This part was quoted from the two dominant fields of aesthetic appreciation morphology and aesthetic appreciation psychology in the aesthetic boundaries. I studied the styles of art works in accordance with the aesthetic appreciation morphology, and researched the artwork styles’ effects and functions in the chief experiences to explore the art works’ value deeply, which laid particular stress on the objective aspect of aesthetic appreciation. What was more, to probe into the psychological conditions regarding artistic creation and art appreciation in the light of the aesthetic appreciation psychology, which laid particular stress on the subjective aspect of aesthetic appreciation. Next, to make a thorough inquiry about the aesthetic appreciation value between the subjectivity and the objectivity, to establish dialectical thought for art works interpretation, and to enable the gallery tour guide and interpretation to seize the works’ features and the special meanings of aesthetic appreciation phenomena on philosophic profundity. On the other hand, I tried to discuss the value and limitations of the artistic perspectives in the traditional aesthetics with the theoretical dialectic. Most of the traditional aesthetic theories give undue emphasis to the judgment of aesthetic appreciation value (such as being beautiful and pleasant to the eyes). However, this ideology can not fully respond to and satisfy the theoretical demands of art works interpretation, for not all of the aesthetic theories hold the same standpoint, especially the modern art and the contemporary art. Through analyzing and clarifying it, we can avoid the spectators’ bewilderment and dilemma on aesthetic appreciation. 4. “The 6th Chapter: The Application of Other Relevant Theories on Art Works Interpretation” ˙The Application of the Art Sociology Theory on Interpretation About the sociological perspective of art works, I focused on the discussions of extensive meanings of art works, and dissected the environmental factors of artistic fashions and artwork styles by means of the contentions of social consciousness and social restrictions. Besides, to explore the possible defects of comprehending art works and decoding art creation with social consciousness by the negative viewpoints of sociology. From the position of creation, the doctrine, and the theory of doing art for art, I analyzed and demonstrate the limitations of interpreting art works with the sociological perspective while a work of art is deemed to be of the closed system. ˙The Application of the Art Psychology Theory on Gallery Tour Guide and Interpretation About the psychological aspect of art creation and appreciation, first of all, I elaborated the motives of art creation and the perspectives of aesthetic appreciation with Sigmund Freud’s theory of subconscious psychology, and disclosed his theories and doctrine’s applied value on art works interpretation. Furthermore, by the controversial contention of the theory of original desire sublimation, I analyzed the limitations of his theories and doctrine applying on art works interpretation. Also, I defined the relationship between the feature of personality and the category of art creation with the arguments of Freidrich Schiler, Carl Gustav Jung, and Whilhelm Worringer on art, and analyzed artists’ psychology, intentions, and motives of creation. Then I quoted Rudolf Arnhein’s theory of visual perception psychology, stressed the structure of form and the effect of cognition, and dissected the inclination of Gestalt on visual perception of esthetic appreciation, and the course that the spectators participate in the creation initiatively. To continue the above-mentioned various contentions about art works interpretation, I discussed spectators’ stage-by-stage development of aesthetic appreciation abilities and the principles of response according to the appreciation analyses of the spectators’ experiences of aesthetic appreciation, so as to increase gallery tour guide and interpretation’s profit on communication, and achieve art works interpretation’s functions on education and communication in an art museum.
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Edwards, Deborah, University of Western Sydney, College of Law and Business e School of Management. "Understanding the organization of volunteers at visitor attractions". 2005. http://handle.uws.edu.au:8081/1959.7/30804.
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This thesis investigates how volunteers are organized at visitor attractions. It focuses on museums and art museums; non-profit institutions that manage large volunteer programs. The study addresses five important issues : 1/ in what context do museums and art museums operate; 2/ why people are motivated to volunteer for these institutions; 3/ what is the extent to which the institution interacts with its external environment and how this affects organizing routines of volunteers; 4/ what is the relationship between volunteer motivation, interest dissatisfaction and value commitments; and 5/ how this understanding can result in the better management of volunteers. Two attractions in New South Wales and one in the Australian Capital Territory were investigated. The author collected data on field activities of volunteer managers and coordinators, and administered a questionnaire to the total population of volunteers in these three attractions. The thesis contributes to a more holistic understanding of volunteers that offers a critical theoretical extension to tourism, institutional and neo-institutional literature.Doctor of Philosophy (PhD)
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LIAN, TIK-YIN, e 練迪英. "The Investigation of Literary Works in Script Golden Awards in National Museum of Taiwan Literature". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/20536097194118726827.
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碩士國立臺灣藝術大學
戲劇學系
101
Literature is highly emphasized in Taiwan, However, within different literary prizes, drama playwriting is often neglected for selection. Typically, readers accustomed to reading models like novels, essays and poetry. Drama playwriting is not familiar to the readers and it is not easy to have further imaginary space. In Taiwan, the drama playwriting literary prizes are held officially by County Government or Central Units. However, private organizations seldom hold this kind of literary competition. It is not surprising that the government places more emphasis on dramatic literature than general organizations do . In order to encourage literary creation, National Museum of Taiwan Literature sets up Taiwan Literary Award, and further classify the Golden awards into Book class and Creative class. Among them, the Golden Awards of creative class include previously neglected subjects such as script, local native Hakka poetry, native Chinese reportage and local native Taiwanese novel. This is a good sign of the development of Taiwan literature. Life and ceremony are closely connected. In our human life, ceremony is a behavior that has fixed and repeating steps to achieve a particular result. According to Arnold Van Gennep's thesis, when people in different cultures experience the turning points during their lives, they have to arrange some kinds of transitional ceremony. When people’s identities change upon deferent stages of life, the activities held during this period are called “Rites of Passage”. Based on the thesis of Rites of Passage, A British anthropologist called Victor Turner extended the concepts of transition into "Social Drama", which include four stages: breach, crisis, redressive action and re-integration or schism. To make it easier for readers to understand the story, the author uses Victorien Sardou’s dramatic structural rules in analyzing the plots of play. By analyzing the ceremony in social drama, we will find out the relationship between the Taiwanese drama and the Taiwanese society, and further strengthen their connection. This study attempts to analyze Taiwanese Literature Script Writing Golden Award during Year 2005-2010 by using the Tuner’s thesis about ceremony.
44
Khan, Aneesah. "An analysis of the arrival, settlement and domestic arrangements of South Asian Muslim salon workers in Durban". Thesis, 2011. http://hdl.handle.net/10413/8175.
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This study examines the arrival and settlement of a sample of South Asian Muslim male migrants who are salon owners and salon employees in Durban, South Africa. The increasing visibility of the expansion of Pakistani, Indian and Bangladeshi migrant communities in Durban led to an interest in focusing on those issues which constitute the core of this research, namely: why they migrate, who migrates, how they migrate and arrive here, as well as settle into the work that they do. The broader purpose of this research was to investigate their living arrangements and social dynamics of their working and domestic lives. It also explores the challenges and opportunities that migrants encounter from the time they decide to leave home up until arrival in the country of resettlement and the way in which transnational social ties assist in helping them transcend such obstacles and reap the benefits of available prospects. Central to this project was also the adoption of salon work as a livelihood strategy as well as issues of integration, identity construction and the perceptions of foreign migrants and their enterprises from the view of local salon owners and local customers of foreign owned salons. It shows how migrants remain who they are and how the host society becomes a terrain in which their normative social practices are recreated and enjoyed. The study is anthropological in nature and therefore aims to capture the complexities of the migrant experience from the individuals' perspectives through the use of case studies. As part of the qualitative approach, observations of foreign owned enterprises were conducted, random sampling was used to select participants, and semi-structured interviews made it possible to acquire data. The exploratory goal of the study aims to illustrate that migrants are individuals who leave home with the hope of transforming their dreams and ambitions into a brighter prosperous reality not only for themselves, but more importantly their families too.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2011.
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Wreford, Liz. "Field works: explorations in the tall grass prairie landscape". 2007. http://hdl.handle.net/1993/324.
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‘FIELD WORKS’ explores landscape experiences that were once common to the tall grass prairie region of Manitoba. The route through this project winds in and out of urban surfaces to reveal memories embedded in the land. It documents forgotten and dormant prairie events so that they might be woven back into the fabric of the city.
The purpose of this project is to transfer explored and speculative experience into a physical route through the urban prairie landscape. It is an effort to expose the layers clinging to physical memories rooted in the prairie.May 2007
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CHUNG, YUN, e 仲芸. "Moral Economy of Selling Hijab:An Analysis of Part-Time Economic Activities of Indonesian Muslim Migrant Workers in Taiwan". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/96476t.
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碩士國立暨南國際大學
東南亞學系
106
When Muslim migrant workers from Indonesia come to work in Taiwan, the first challenge they encounter with realizing religious practices is how to maintain a religious life similar to that in their homeland given the lack of distribution channels and product availability of hijabs in Taiwan as well as their Taiwanese employer’s passive attitude towards lending a hand. Consequently, in order to carry on their religious practices, Indonesian Muslim migrant workers reach out to trustworthy communities and channels to replenish their Islamic supplies. Among them, some migrant workers – with or without permission from their employers – have joined the business of selling hijabs and will be referred to as “moonlighting migrant workers” in this study. The moonlighting migrant collect non-operating income by selling hijabs; in the legal aspect, these beyond-the-permit commercial activities are a violation to the Taiwanese law; in the moral aspect, selling religious articles outside of Indonesia at higher prices warrants the controversy of exploiting fellow compatriots. However, this study has concluded that the main products sold by these moonlighting migrant workers are those pertaining to realizing religious practices of the customers as well as the moonlighting migrant workers themselves. Moreover, the execution of such economic activities incorporates personal interest, public benefits, and all the moral and economic principles of the Islamic doctrine. Hence, there is no worry for the aforementioned issues. This study aims to explore how the moonlighting migrant workers’ community resources, labor contents, labor conditions, and labor relations affect their entrepreneurship and business operation; the study also discusses how moonlighting migrant workers resort to implicit and explicit strategies at their work place – their employer’s home – to negotiate with their employer so as to advance their moonlighting business. Meanwhile, the study also offers an explanation to how these economic strategies centered around religious practice and mutual help between Indonesians not only benefit the moonlighting migrant workers themselves but also advance the interests of their customers as well as other competitors who are also moonlighting migrant workers; by doing so, the study hopes to illustrate the spirit of mutual help and moral economy demonstrated in the economic activities of Indonesian Muslim migrant workers selling hijab in Taiwan.
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Winters, Yvonne. "Indigenous aesthetics and narratives in the works of Black South African artists in local art museums". Thesis, 2009. http://hdl.handle.net/10413/618.
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This dissertation is an amalgam of reformulated essays on artists who had connections with 20-21st century KwaZulu-Natal: They appeared in exhibition catalogues that accompanied the exhibitions; The Azaria Mbatha Retrospective, 1998, The Trevor Makhoba Memorial, 2005 and Cyprian Mpho Shilakoe Revisited, 2006. Chapter 1, the introduction; outlines the chapters, gives the theoretical and broader theoretical framework, history of the region and art therein, literature survey and methodology. Central to the theoretical framework is an attempt to meld the original essays into a coherent whole; by expanding the interpretation of indigenous cultural world-view to include the concept of orality versus literate cultures. Even in the transformation to literacy with westernization and Christianity the African oral mind-set is still operative; thus for instance the early Zulu writers like R.R.R. Dhlomo rendered the Zulu kings‘ oral praise-poems into written form and these became set-works for Zulu schools up until the 1994 new dispensation. Also dealt with are related issues of what therefore constitutes 'Africanness‘ and debates whether it is but the invention of the west in need of the 'Other‘ (something arguably pertinent to the art-collector‘s reasons for collecting), or if there is that own to the African style, like the oral style, which can be termed a 'legitimate Africanness‘ if one will. Further, how this style then exhibits itself in the visual arts as a 'preferred form‘ in terms of medium, colour, patterning and favored technique which best conspire to express these qualities. Chapter 2 (essay 1) and chapter 3 (essay 2), carry forward the assumptions made in the introduction. In modern times the oral genre has developed into an exciting style; namely the development of urban, often migrant musical forms, like isicathimiya, that challenge politics, social-wrongs, racism and taboos. It is argued that an artist like Trevor Makhoba can be considered a social commentator and 'master of the oral genre‘ in that he rendered this style into visual form. Certain of Makhoba‘s works depicting white females and black males are analyzed in this light and it is suggested that the oral genre also draws upon both stereotypical and universal archetypal imagery. Chapter 3 (essay 2) considers Azaria Mbatha‘s use of the older oral story-telling mode, rendered in linocut medium as an echo of earlier indigenous wooden 'pokerwork‘ panels, to transmit a political message in line with concepts of African Christianity, itself a syncretism of the Christian message with African world-view. This allegory was needed in a time where the Nationalist Government would have made open insurrection impossible. Chapter 4 (essay 3) concerns ex-Rorke‘s Drift art-student Cyprian Shilakoe. I analyze his aquatints in the light of his own Sotho cultural ideas on contagion and the ancestors for deeper meaning. The fact of culture change is accepted and mention is made of the artist‘s friend and fellow student, Dan Rakgoathe‘s melding of western esoteric mysticism, like Rosicrucianism, into African thinking and how far this impacted on the more traditional Shilakoe‘s works. The essays are followed by Chapter 5, the conclusion, which serves to come to some resolution. This is then followed by the bibliography.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2009.
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Yang, Li-Ying, e 楊力穎. "The Influence of Digital Technology on Aesthetic Visual Perception：A Case Study of Digital Images of Art Works in National Palace Museum". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/2aau9k.
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碩士國立臺北藝術大學
博物館研究所碩士班
99
Through integration of digital technology and modern media techniques, all conventional media including text, graphic, and audio can be easily converted into digital formats and further stored, edited, and disseminated by computers. With the increasing prevalence of computer and networking facilities, the role that computers play has shifted from a computing instrument to an important media center. Influenced by this trend, many arts museums have applied digital technology to interpretation of art works to enhance the accessibility of both the museum and collections. Their effort has also produced fruitful results. The aim of this paper is to investigate how physical museums can influence the results of digital archive programs and issues concerning aesthetic visual perception and digitalization of art works. In this paper, art museums are viewed as an intermediary between art works and the audience. Through analysis of commonality and generality of visual perception, this paper attempts to explore the effects of digital technology on aesthetic visual perception. National Palace Museum is selected as a subject for case study and cross-validation. Results indicate that through digitalization of art collections, museums can directly deliver their basic research of historical or cultural works to the audience. In terms of the content of permanent exhibitions, using original art works as the main exhibits can highlight the characteristics of the collection but is also limited to display techniques and protection of the art works. Online exhibitions and educational activities (hereafter referred to as online resources) are based on existing collections of the museum and primarily intended to promote the collections. Because items to be exhibited will be converted into digital images, online exhibitions or resources are not subject to physical constraints and can also encompass items from across different eras and genres. In the application of digital images in permanent exhibitions, displaying digital images and their originals in parallel can present a different angle of the art works. Displaying online resources without their originals in permanent exhibitions can help the audience directly associate the resources to the exhibition and educational content. Through digitalization of art works, details in art works that may be easily neglected can be emphasized, and art elements can be edited or added to create a certain atmosphere or present the history or artist techniques behind the art works. Besides, images captured by technological instruments can extend the audience’s visual experience. Through use of various imaging techniques and visual effects, museums can guide the audience to experience the implicit content and history of art works. Digital technology and digital images can provide diverse looks of art works. They can be used to integrate themes and content to guide and influence audience''s aesthetic visual perception. However, National Palace Museum’s various online resources and online archive systems have not been properly connected and utilized in collaboration with physical exhibitions in the museum. As a result, repetition and fraction of online audience’s visual perception may occur. In the present, all the units of online exhibitions or resources offer explanations of the diverse looks and meanings of art works but within a single context. Despite the fact that visitors are allowed to select the content to view on their own, the museum can also actively present resources related to the content selected by the audience, guiding them to further explore related information.
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Chen, Shieh-ni, e 陳雪妮. "A Study on the Emergency Prevention Procedures and Management for Works of Art: Taking Kaohsiung Museum of Fine Arts as an example". Thesis, 2000. http://ndltd.ncl.edu.tw/handle/44423177585331756162.
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Scarpa, Mariana Castelo dos Reis Lopez. "Cedência temporária de bens culturais móveis: reciprocidade implícita na relação entre museus?" Master's thesis, 2021. http://hdl.handle.net/10071/24916.
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É comummente aceite que o intercâmbio de obras de arte entre museus, sob forma de emprés-
timo, subsiste com o intuito de aumentar a divulgação, o valor e a fruição das obras. Por outro
lado, é (também) por via da mobilidade das suas coleções que se fortalece e valoriza grande
parte do património cultural de uma coleção, de um museu, de um país. Contudo, a mobilidade
de obras de arte gera elevados encargos e difíceis desafios, para quem tem responsabilidades
acrescidas na salvaguarda do património cultural.
O estudo que aqui se desenvolve tem como objetivos: clarificar as metodologias instituídas
nos procedimentos de cedência de obras entre instituições; identificar as condições subjacentes
que, maioritariamente, têm de ser cumpridas por forma a que um pedido de empréstimo seja
aceite pela entidade requerida; diagnosticar os permanentes desafios que se colocam aos res-
ponsáveis pela viabilização deste Processo de Empréstimo; e, por fim, detetar a existência de
permutas sob os quais assentam os Processos de Empréstimos.
Assim, partimos de um quadro teórico assente na sistematização das linhas estratégicas
necessárias para a circulação das obras entre museus. Em consequência da pesquisa realizada,
apresenta-se uma descrição sumária dos procedimentos habituais para a concretização do Pro-
cesso de Empréstimo, através da identificação e partilha das suas práticas.
O plano de investigação traçado teve em conta os testemunhos de pessoas com poder de
influência direta na estratégia de algumas das instituições portuguesas com maior relevo no
panorama cultural português e, consequentemente, no meio das cedências e empréstimos.It is widely accepted that the aim of increasing the knowledge, the value and the fruition of works of art is one the driving forces of the exchange of works of art between museums. On the other hand, it is (also) through the mobility of their collections that much of the cultural heritage of a collection, a museum, a country is strengthened and valued. However, the mobility of works of art generates high burdens and difficult challenges for those who have increased re- sponsibilities in safeguarding cultural heritage. This dissertation’s objectives are the following: clarify the methodologies used in the procedures of lending works between institutions; identify the conditions that, in most cases, must be met in order for a loan request to be accepted by the borrowing entity; diagnose the permanent challenges faced by those responsible for making this lending process viable; and, finally, detect the existence of exchanges under which the lending processes are based. Thus, we started from a theoretical framework based on the systematization of the stra- tegic lines necessary for the circulation of works between museums. As a result of the research carried out, we present a summary description of the usual procedures for the implementation of the Loan Process, through the identification and sharing of its practices. The research plan outlined took into account the testimonies of people with direct influence on the strategy of some of the Portuguese institutions with greater relevance in the Portuguese cultural panorama and, consequently, in the lending and borrowing environment.