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Artigos de revistas sobre o assunto "Paulus Museum"
1
GIRI, VARAD B., R. CHAITANYA, STEPHEN MAHONY, SAMUEL LALROUNGA, C. LALRINCHHANA, ABHIJIT DAS, VIVEK SARKAR, PRAVEEN KARANTH e V. DEEPAK. "On the systematic status of the genus Oriocalotes Günther, 1864 (Squamata: Agamidae: Draconinae) with the description of a new species from Mizoram state, Northeast India". Zootaxa 4638, n.º 4 (18 de julho de 2019): 451–84. http://dx.doi.org/10.11646/zootaxa.4638.4.1.
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The montane agamid lizard genus Oriocalotes is currently considered monotypic, represented by the species, O. paulus. The systematic status of this taxon has remained questionable since its initial descriptions in the mid-1800s. A detailed molecular and morphological study was carried out to assess the validity of this genus, and its systematic position within the Asian agamid subfamily, Draconinae. Freshly collected and historical museum specimens from the type locality of O. paulus were examined morphologically, along with additional samples collected from localities in Mizoram state, Northeast India. Utilising newly generated molecular sequences (two mitochondrial and three nuclear genes), combined with those previously published for representative genera from the subfamilies Draconinae and Agaminae, Maximum Likelihood and Bayesian phylogenetic trees were constructed. Phylogenetic results suggest that Oriocalotes is part of the widespread South and Southeast Asian radiation of Calotes. Comparative morphological studies (including external morphology, hemipenis and osteology) between Oriocalotes and related genera further support this systematic placement. Oriocalotes is herein regarded as a junior subjective synonym of Calotes. Calotes paulus comb. nov. is also assigned a lectotype and given a detailed redescription based on the lectotype, paralectotypes and additional topotypic material. Furthermore, the specimens collected from Mizoram populations are found to be morphologically and genetically distinct from Calotes paulus comb. nov., and are described herein as a new species, Calotes zolaiking sp. nov.
2
Nijhoff, Michiel. "The early history of the Stedelijk Museum library: the Kloet years". Art Libraries Journal 33, n.º 4 (2008): 14–16. http://dx.doi.org/10.1017/s030747220001556x.
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On 5 May 2007, the Stedelijk Museum library in Amsterdam was exactly 50 years old – although a collection of books known as ‘the library’ began long before that in the building on the Paulus Potterstraat. Louis Kloet was the first librarian. He founded and ran the library from 1953 until 1980, a period in which the collection and the number of visitors grew steadily and it evolved into one of the most important libraries of modern art in Europe.
3
Borsboom, A. P., Fredrik Barth, H. J. M. Claessen, Paul Grijp, Simon Kooijman, Adrian Horridge, Jelle Miedema et al. "Book Reviews". Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 144, n.º 4 (1988): 565–76. http://dx.doi.org/10.1163/22134379-90003288.
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- A.P. Borsboom, Fredrik Barth, Cosmologies in the making; A generative approach to cultural variation in Inner New Guinea, Cambridge studies in social anthropology, Cambridge University Press, 1987, 99 pp., - H.J.M. Claessen, Paul van der Grijp, Sporen in de Antropologie; Liber Amicorum voor Jan Pouwer, Nijmegen: Instituut voor Kulturele en Sociale Antropologie, 1987. Bibl., tab., ill. 330 pp., Ton Lemaire, Albert Trouwborst (eds.) - Simon Kooijman, Adrian Horridge, Outrigger canoes of Bali and Madura, Indonesia, Bishop museum special bulletin 77, Honolulu: Bishop museum press, 1987. xii + 178 pp., 4 maps, 1 colour photograph, 19 black and white photographs, 71 line drawings. - Jelle Miedema, D.K. Feil, The evolution of highland Papua New Guinea societies, Cambridge: University Press, 1987, xii + 313 pp. - Jelle Miedema, James F. Weiner, Mountain Papuans; Historical and comparitive perspectives from New Guinea fringe highlands societies. Ann Arbor: The University of Michigan Press, 1988, 230 pp. - Jetta Wille, Paulus M.F. van der Grijp, Produktie en denkwijzen in Polynesië; Sociale asymmetrie, ideologie en verandering op de Tonga-eilanden, Proefschrift Nijmegen, 1987.
4
Kasten, Brigitte. "St. Paulus Worms 1002-2002. Kollegiatstift - Museum - Dominikanerkloster, hg. von P. Josef kleine Bornhorst OP". Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Kanonistische Abteilung 90, n.º 1 (1 de agosto de 2004): 591–92. http://dx.doi.org/10.7767/zrgka.2004.90.1.591.
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Salaks, Juris, e Kaspars Vanags. "From a private collection to a state museum: Pauls Stradiņš Museum of the History of Medicine". Papers on Anthropology 30, n.º 1 (29 de setembro de 2021): 62–79. http://dx.doi.org/10.12697/poa.2021.30.1.05.
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In 2021, Pauls Stradiņš Museum of the History of Medicine in Rīga (Latvia) will celebrate 60 years since it acquired the status of a state museum. This article describes the history of its creation, the work of the museum from 1961 to 2019, its basic functions and structures, the consequences of ideological deviations, and outlines the vision for the future development of the museum.
On the one hand, the museum is based on the idea and collection of Doctor Pauls Stradiņš, an avid enthusiast, and his skill in keeping, supplementing, and improving his collection and legalising it as a state-run institution. However, no less important has been the attitude of the public and the authorities towards this institution, public support for P. Stradiņš’ idea. The relatively liberal attitude towards the initially private museum is explained by the fact that healthcare was declared one of the priorities of the Soviet Union, and the history of medicine was ideologically a relatively neutral field. In addition, the “national” moment was less emphasised in P. Stradiņš Museum – in the context of Latvia, the museum mainly showed folk medicine, fighting against epidemics, medicine in cities but did not highlight medical achievements during the years of Latvia’s independence.
The paradigm of the museum has changed today. Aspects of medicine, as in natural and technological sciences, which are within the competence of social history, anthropology and cultural theory have come to the fore. The experience of the global pandemic has brought conflict and tension into and around health in public opinion. This calls for a review of the six decades of exhibition traditions and the dynamics of the relationship with the museum’s existing and potential audience, which has been cultivated for six decades.
6
Paulus, Ave, Aleksei Kelli e Anti Kreem. "Ajaloolise puupaadikultuuri pärandiväärtusest Lahemaa paadiehituse ja viislaiu näitel / The heritage value of historical wooden boat culture on the example of Lahemaa boat construction and viislaid-type boat". Studia Vernacula 10 (5 de novembro de 2019): 66–101. http://dx.doi.org/10.12697/sv.2019.10.66-101.
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Lahemaa region has been one of the main historical seafaring centres in Estonia. Nearly 50 wooden sailing ships were built there (Õun 2019) and hundreds of captains and steersmen trained, thus advancing marine culture. Every coastal village had its own boatwright. Marine culture traditions were abruptly cut off during the Soviet occupation that destroyed Estonian wooden boat culture. The main heritage of traditional coastal fishing and marine culture – a wooden boat – is no longer seen on the sea.
The authors unravel the essence of wooden boat culture, exemplify the break of tradition on the example of a unique viislaid-type boat, and provide legal solutions to help revive the wooden boat heritage.
The authors define the nature of the historic wooden boat building tradition through its heritage values, drawing on the fundamental principles of heritage theory, and on the legal framework for the protection of heritage and intellectual property. Historical boat culture is conceptualised through the prism of its authenticity, based on the analysis of the boat as a heritage object and boat building as creation and tradition. The case study which exemplifies the analysis is Lahemaa’s unique viislaid-type boat, its construction tradition and the cultural break therein. The article defines the tradition of boatbuilding in the context of heritage protection and maps an initial intellectual property strategy to ensure the survival of the boatbuilding tradition. The article summarises the authors’ specific conclusions and suggestions in this area.
In their interdisciplinary approach to cultural heritage and wooden boat building, the authors draw on their previous research and practical experience in the field of cultural heritage, historic wooden boat building and law (see Paulus 2017a; Paulus 2017b; Kreem 2017; Paulus 2017), developing it further and adding new aspects, such as legal analysis. Sources include previously unpublished data on viislaid-type boats (including manuscripts, photographs, technical drawings).
For a more comprehensive mapping of the situation, several Estonian wooden boat masters were contacted and asked to explain why they were activein the area under study. The main focus was on boatbuilding traditions and values, administrative regulations and the use of intellectual property instruments in the context of the wooden boat construction tradition. To protect the business interests and personal data of the interviewees, the results are presented as a generalisation without identifying specific individuals. Any sensitive information remains with the authors.
On the occasion of the 50th anniversary of the ICOMOS Venice Charter and the 20th anniversary of Nara Charter, ICOMOS adopted ICOMOS Nara 20+: on heritage practices, values and the concept of authenticity in 2014. This document reaffirmed the importance of the role of vibrant cultural traditions and heritage communities in defining, practising and developing heritage. This document emphasised authenticity as a meaningful creation and evolving cultural tradition, heritage as a keeper of cultural identity, the importance of heritage practices as carriers of history and identity values and as guarantors of sustainable development.
The article describes one specific example of a wooden boat culture – a viislaid-type boat unique to Lahemaa. This is a unique type of boat, the distribution area of which has been described by authors’ recent research (Mäss et al. 2017) only in the Lahemaa region and in Northern Estonia from Viimsi-Prangli to Karepa and Toolse. It is the largest dual-masted fishing boat (from 6.5–7 meters to 12 meters), with a unique stem and often also stern, as described by previous researchers and by locals. In the early and mid-20th century the boat was still present in descriptions, photographs and paintings. Unfortunately, to the authors’ knowledge, currently only two examples of the ever-popular Northerncoast boat type exist. One is a historic boat preserved as a nelilaid-boat in Rootsi-Kallavere Museum. The second is a new Viimsi viislaid-type boat Suur Leenu built by the boat master Anti Kreem as a model of the boat type as a result of the authors’ 2017 study (Mäss et al. 2017).
The solution proposed by the authors – observing the wooden boat culture in the paradigm of cultural heritage protection – creates the preconditions for its promotion in a way that preserves both the authenticity of the tradition and enables new creation so that it is protected and valued as a cultural heritage and enjoys intellectual property rights. Perhaps it is time to clarify the cultural tradition of wooden boats, the construction of historic ships and wooden boats in the Estonian legal space.
The Estonian Maritime Safety Act defines historical boats through the concept of a copy. The authors suggest that the concept of an example of traditional type should be followed instead. The new boat created is, as a rule, an original creation. This complies with the contemporary paradigm of cultural heritage protection. The observation of the boat construction tradition in the paradigm of cultural heritage protection creates the preconditions for its promotion in a way that preserves both the authenticity of the tradition and the new creation.
The creation of a historic wooden boat has many links to intellectual property. Both the boat itself and the drawings on which it is based may be copyrighted. Boat details can also be protected with patent and industrial design rights. Trademarks and geographical indications may be used to promote the boat tradition.
The protection of the intellectual property is not prioritised in the practice of the Estonian wooden boat tradition. Boats and skilled labour are the main objects of trade. Know-how (e.g., boat drawings) is sometimes also sold. One possible reason for not prioritising IP is that the construction of historic woodenboats is of no economic importance. Last but not least, attention to the intellectual property also creates the conditions for the commercial exploitation of the solutions created on the basis of the tradition.
Keywords: wooden boat, viislaid-type boat, cultural heritage, heritage value
7
Paulus, Ave, Aleksei Kelli e Anti Kreem. "Ajaloolise puupaadikultuuri pärandiväärtusest Lahemaa paadiehituse ja viislaiu näitel / The heritage value of historical wooden boat culture on the example of Lahemaa boat construction and viislaid-type boat". Studia Vernacula 10 (5 de novembro de 2019): 66–101. http://dx.doi.org/10.12697/sv.2019.10.66-101.
Texto completo da fonteResumo:
Lahemaa region has been one of the main historical seafaring centres in Estonia. Nearly 50 wooden sailing ships were built there (Õun 2019) and hundreds of captains and steersmen trained, thus advancing marine culture. Every coastal village had its own boatwright. Marine culture traditions were abruptly cut off during the Soviet occupation that destroyed Estonian wooden boat culture. The main heritage of traditional coastal fishing and marine culture – a wooden boat – is no longer seen on the sea.
The authors unravel the essence of wooden boat culture, exemplify the break of tradition on the example of a unique viislaid-type boat, and provide legal solutions to help revive the wooden boat heritage.
The authors define the nature of the historic wooden boat building tradition through its heritage values, drawing on the fundamental principles of heritage theory, and on the legal framework for the protection of heritage and intellectual property. Historical boat culture is conceptualised through the prism of its authenticity, based on the analysis of the boat as a heritage object and boat building as creation and tradition. The case study which exemplifies the analysis is Lahemaa’s unique viislaid-type boat, its construction tradition and the cultural break therein. The article defines the tradition of boatbuilding in the context of heritage protection and maps an initial intellectual property strategy to ensure the survival of the boatbuilding tradition. The article summarises the authors’ specific conclusions and suggestions in this area.
In their interdisciplinary approach to cultural heritage and wooden boat building, the authors draw on their previous research and practical experience in the field of cultural heritage, historic wooden boat building and law (see Paulus 2017a; Paulus 2017b; Kreem 2017; Paulus 2017), developing it further and adding new aspects, such as legal analysis. Sources include previously unpublished data on viislaid-type boats (including manuscripts, photographs, technical drawings).
For a more comprehensive mapping of the situation, several Estonian wooden boat masters were contacted and asked to explain why they were activein the area under study. The main focus was on boatbuilding traditions and values, administrative regulations and the use of intellectual property instruments in the context of the wooden boat construction tradition. To protect the business interests and personal data of the interviewees, the results are presented as a generalisation without identifying specific individuals. Any sensitive information remains with the authors.
On the occasion of the 50th anniversary of the ICOMOS Venice Charter and the 20th anniversary of Nara Charter, ICOMOS adopted ICOMOS Nara 20+: on heritage practices, values and the concept of authenticity in 2014. This document reaffirmed the importance of the role of vibrant cultural traditions and heritage communities in defining, practising and developing heritage. This document emphasised authenticity as a meaningful creation and evolving cultural tradition, heritage as a keeper of cultural identity, the importance of heritage practices as carriers of history and identity values and as guarantors of sustainable development.
The article describes one specific example of a wooden boat culture – a viislaid-type boat unique to Lahemaa. This is a unique type of boat, the distribution area of which has been described by authors’ recent research (Mäss et al. 2017) only in the Lahemaa region and in Northern Estonia from Viimsi-Prangli to Karepa and Toolse. It is the largest dual-masted fishing boat (from 6.5–7 meters to 12 meters), with a unique stem and often also stern, as described by previous researchers and by locals. In the early and mid-20th century the boat was still present in descriptions, photographs and paintings. Unfortunately, to the authors’ knowledge, currently only two examples of the ever-popular Northerncoast boat type exist. One is a historic boat preserved as a nelilaid-boat in Rootsi-Kallavere Museum. The second is a new Viimsi viislaid-type boat Suur Leenu built by the boat master Anti Kreem as a model of the boat type as a result of the authors’ 2017 study (Mäss et al. 2017).
The solution proposed by the authors – observing the wooden boat culture in the paradigm of cultural heritage protection – creates the preconditions for its promotion in a way that preserves both the authenticity of the tradition and enables new creation so that it is protected and valued as a cultural heritage and enjoys intellectual property rights. Perhaps it is time to clarify the cultural tradition of wooden boats, the construction of historic ships and wooden boats in the Estonian legal space.
The Estonian Maritime Safety Act defines historical boats through the concept of a copy. The authors suggest that the concept of an example of traditional type should be followed instead. The new boat created is, as a rule, an original creation. This complies with the contemporary paradigm of cultural heritage protection. The observation of the boat construction tradition in the paradigm of cultural heritage protection creates the preconditions for its promotion in a way that preserves both the authenticity of the tradition and the new creation.
The creation of a historic wooden boat has many links to intellectual property. Both the boat itself and the drawings on which it is based may be copyrighted. Boat details can also be protected with patent and industrial design rights. Trademarks and geographical indications may be used to promote the boat tradition.
The protection of the intellectual property is not prioritised in the practice of the Estonian wooden boat tradition. Boats and skilled labour are the main objects of trade. Know-how (e.g., boat drawings) is sometimes also sold. One possible reason for not prioritising IP is that the construction of historic woodenboats is of no economic importance. Last but not least, attention to the intellectual property also creates the conditions for the commercial exploitation of the solutions created on the basis of the tradition.
Keywords: wooden boat, viislaid-type boat, cultural heritage, heritage value
8
Salaks, Juris, e Marika Garnizone. "The International Society for the History of Medicine Begins the Celebration of Its 100th Anniversary in Latvia". Acta medico-historica Rigensia 13 (2020): 93–103. http://dx.doi.org/10.25143/amhr.2020.xiii.06.
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In August 2020, Riga became the world’s capital of the history of medi- cine, hosting the 47th Congress of the International Society for the History of Medicine (ISHM). The Congress was organised by the Latvian Society for the History of Medicine in cooperation with Rīga Stradiņš University and Pauls Stradiņš Museum of the History of Medicine.
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Salaks, Juris. "International Cooperation of the Pauls Stradiņš Museum of the History of Medicine". Acta Baltica Historiae et Philosophiae Scientiarum 3, n.º 2 (23 de dezembro de 2015): 115–19. http://dx.doi.org/10.11590/abhps.2015.2.07.
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Leslie, Fiona. "Inside Outside: Changing Attitudes Towards Architectural Models in the Museums at South Kensington". Architectural History 47 (2004): 159–200. http://dx.doi.org/10.1017/s0066622x0000174x.
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The union of these collections and the addition of the models of St. Paul’s and various classical buildings, betoken what an Architectural Museum may become, if the individuals and the State will act together. Every foreigner who has seen this commencement sees in it the germ of the finest Architectural Museum in Europe, if the public support the attempt.From the first years of its establishment in June 1857, to the end of the nineteenth century, the South Kensington Museum had amongst its collections over a hundred architectural models. First they were acquired through a policy of encouraged loans and gifts, followed by pro-actively commissioning model makers; other models, however, were at South Kensington through default, having remained on site where they had been made by ‘sappers’. The models, which included examples of Western, Asian and Far Eastern buildings and monuments, were first shown in displays under the headings of Ornamental, Architectural, Economics, and Educational. To give an indication of their initial importance to the museum, the early guidebooks feature architectural models amongst the ‘principle objects in the gallery’. Twenty years later most models had been transferred from what were essentially style galleries to the more utilitarian displays concerned with architectural and engineering practices, and within them they were merely included as part of the broader contextual themes. By the turn of the century, with the exception of the 1901 handbook to the models of Italian Renaissance painted interiors, they were rarely referred to at all in museum publications. By 1912 (soon after the Science and Art collections had been divided on either side of the Exhibition Road) most of the models were no longer on display and were thought by senior keepers to be of little use to museum collections. Many had been de-accessioned by the 1970s, when their position in the doldrums was reversed and models were once again included in the museum displays and exhibitions. This article explores the changes in attitude towards architectural models during the first 120 years of the V&A, focusing on the models of Western buildings.
Teses / dissertações sobre o assunto "Paulus Museum"
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Canas, Adriano Tomitão. "MASP: Museu laboratório. Projeto de museu para a cidade: 1947-1957". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-17062010-092757/.
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Este trabalho tem como objeto o Museu de Arte de São Paulo Assis Chateaubriand MASP e sua inserção na cidade de São Paulo, nos primeiros 10 anos de atividade em sua primeira sede na rua Sete de Abril. O objetivo é compreender o Museu de Arte e sua inserção na cidade do ponto de vista da sua operatividade, como laboratório do moderno, através das diversas frentes de sua ação cultural propostas por Pietro Maria Bardi e Lina Bo Bardi na construção da identidade moderna do museu, contando com a colaboração de arquitetos e artistas estrangeiros. Pretende também identificar as relações existentes entre os discursos elaborados por seus criadores e o discurso dos arquitetos dentro do debate internacional em torno do papel dos museus e da arquitetura moderna nas cidades do pós-guerra, contexto em que se entende o projeto museológico proposto para o MASP inserido nas discussões internacionais relacionadas à renovação do papel dos museus na cidades.The present thesis object of research is the Museu de Arte de São Paulo Assis Chateaubriand MASP and its insertion in the city of São Paulo, during the period of the first 10 years of activities in its primary headquarters at Sete de Abril Street. The main goal of the study is to understand the Art Museum from the operative perspective, as a modern laboratory, throughout the several activities proposed by Pietro Maria Bardi and Lina Bo Bardi at the construction of a modern identity for the museum, counting with the collaboration of foreign architects and artists. Also aims to identify the existing relations between the speeches of its creators and the architect speeches within the international debate about the role of the museums and modern architecture at post war cities, context in which the musicological project proposed to MASP is comprehended inserted in the international discussions related to the reassessment of the role of museums in the cities.
2
Servitja, Tormo Lada. "Els visitants infantils dels museus gironins en el marc d'una visita familiar i no organitzada". Doctoral thesis, Universitat de Girona, 2012. http://hdl.handle.net/10803/101526.
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The present research try to analyze the objectively patterns of visitor behavior focused on 5 and 12 years old kids, which visited the museums of the city of Girona in a non organized tour. We combined different methodologies for the data collection: survey, non participant direct observation and symbolic language from offered and self-administered written response. As a result, we know how children interact with museum materials, how they make relations with the different group members, how they use supplementary materials to do the visit, what itinerary they do, how they visit the rooms, what kind of texts they read, in which Units of Attention they provide more interest, what colors attract the most, what effects in their behavior can have the lighting, the noise and the temperature, what are their preferences, and in general, which are the profiles of families who visit the museums of Girona.El present treball de recerca consisteix en estudiar i analitzar les pautes de comportament objectivables del visitant lliure entre 5 i 12 anys d’edat, que visita de forma no organitzada els museus de la ciutat de Girona. Així, mitjançant la combinació de diferents metodologies per a l’obtenció de dades (enquesta, observació directe no participant i llenguatge simbòlic a partir de resposta escrita autoadministrada i oferta), hem sabut de quina forma aquests interaccionen amb els materials, com es relacionen amb els diferents membres del grup, com utilitzen els materials complementaris a la visita, quin recorregut fan i com fan la visita a les sales, quins textos llegeixen, a quines Unitats d’Atenció presten més interès, quins colors els atrauen més, quins efectes en el seu comportament pot tenir la il•luminació, el soroll, la temperatura ambiental, quines son les seves preferències, i a trets generals, quins son els perfils de famílies que visiten els museus gironins.
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Castro, Diana Costa de. "Um desejo de eu[não] viver sem me notar: o museu como instituição pedagógica emancipatória". reponame:Repositório Institucional do FGV, 2012. http://hdl.handle.net/10438/9911.
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Museums are organizations which are passing trough a moment of crisis and, therefore, museology tries to redefine them, changing to attend a social function by means of democratizing culture. They leave behind the notion of temples and collections of objects to assume a role that modifies the structure of society and the cities, without a theory that addresses this new role. To overcome these contradictions is the new social goal of these organizations and their way of being and acting is the main motivation of this paper which aims to analyze how contemporary museums may constitute a primary locus for liberating praxis through its pedagogical character. We believe that contemporary museums may be 'someone' with whom society can count on their process of emancipation. For this, the role of these organizations should change; favoring democratic rather than economic issues and constitute themselves as a privileged space for emancipation by education. For this reason we make an adaptation of Paulo Freire's pedagogical method for museums, highlighting four main stages: the unveiling of self-knowledge and the reality from the exhibitions and research; critical thinking about the unveiled knowledge; transformation of the object into subject / praxis; exposure of the denounce or announcement of a better world. We believe that this process, strongly grounded in critical thinking and mediated by love (read as a human acting with respect and dialogue) can delimit the museum in its new role as a privileged place where part of the emancipatory process happens. However, contemporary museums may constitute a prime locus for emancipatory praxis through its pedagogical potential. It requires more than applying a method, but means to reformulate completely this organization structure and how it understands itself.
Os museus são organizações que se encontram em crise e a museologia procura redefini-los a partir de sua função social democratizante por meio da cultura. Eles deixam para trás a noção de templos e coleções de objetos para assumirem um papel que modifica a sociedade e a própria estrutura das cidades, sem uma teoria que contemple esse novo papel. Suplantar as contradições existentes é o novo objetivo social dessas organizações e sua forma de ser e agir é a principal motivação deste ensaio que tem como objetivo final analisar como os museus contemporâneos podem se constituir em um local privilegiado para a práxis libertadora por meio de seu caráter pedagógico. Acreditamos que assim os museus contemporâneos podem ser 'alguém' com quem a sociedade pode contar em seu processo emancipatório. Para isso o papel dessas organizações deve se transformar, assumindo um viés democrático em lugar de privilegiar questões econômicas e se constituindo em espaço privilegiado para educação libertadora. Para isso faz-se uma adaptação do método pedagógico de Paulo Freire para os museus, destacando quatro momentos principais: desvelamento do conhecimento de si e da sua realidade pelas exposições e pesquisas; crítica acerca do conhecimento desvelado; transformação do objeto em sujeito / práxis; exposição da denúncia ou do anúncio de um mundo melhor. Acredita-se que esse processo, fortemente embasado na crítica e mediado pelo amor possa delimitar o museu em seu novo papel como espaço privilegiado onde acontece parte do processo emancipatório. No entanto, os museus contemporâneos podem se constituir em um local privilegiado para a práxis libertadora por meio de seu potencial pedagógico se essas organizações mais do que aplicarem um método libertador se reformularem completamente.
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Leonel, Priscila de Medeiros Pereira. "Um encontro com a mediação cultural : 40 Museus em 40 semanas /". São Paulo, 2017. http://hdl.handle.net/11449/150744.
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Orientador: Rejane Galvão CoutinhoBanca: Mario de Souza Chagas
Banca: Mirian Celeste Martins
Resumo: Desenvolvo um estudo sobre meu encontro com a mediação cultural através de um projeto chamado "40 museus em 40 semanas", no qual visitei 40 museus da cidade de São paulo, de diferentes tipologias, entre os anos de 2013 e 2014 . Neste projeto fui propositora, idealizadora, participante e pude me perceber no papel de mediadora destes espaços, mediadora do público, mediadora de uma ideia que se revelou como um intervenção artística na cidade. Esta proposta de adentrar os espaços museológicos, conhece-los e discutir a experiência, é também uma proposta de aproximação do patrimônio da cidade que me levou a pensar sobre identidade cultural e territorialidade. Os textos e imagens com os quais nos deparamos logo a seguir são caminhos de analise neste processo de pesquisa que foi tão profundo e me levou a descobrir e ampliar os significados de museu, memória, patrimônio e mediação cultural.
Abstract: I develop a study on my encounter with cultural mediation, through a project called "40 museums in 40 weeks", in which I visited 40 museums of the city of São paulo, of different types, between the years of 2013 and 2014. In this project I was a proposer, idealizer, participant and I was able to perceive myself in the role of mediator of these spaces, mediator of the public, mediator of an idea that turned out to be an artistic intervention in the city. This proposal to enter the museological spaces, to know them and to discuss the experience, is also a proposal of approximation of the patrimony of the city that led me to think about cultural identity and territoriality. The texts and images that we come across are ways of analysis in this research process that was so profound and led me to discover and extend the meanings of museum, memory, patrimony and cultural mediation.
Mestre
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Arruda, Beatriz Cavalcanti de. "O Museu da Cidade de São Paulo e seu acervo arquitetônico". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-30012015-144147/.
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O Museu da Cidade de São Paulo está localizado em imóveis de interesse histórico e arquitetônico, distribuídos pela malha urbana do município. Esse patrimônio arquitetônico - ao mesmo tempo a estrutura física e uma das plataformas para ações e programas do Museu - é atualmente constituído pelo Solar da Marquesa de Santos; Casa nº 1 ou Casa da Imagem; Capela do Morumbi; Casa do Bandeirante; Casa do Sertanista; Casa do Tatuapé; Casa do Grito; Sítio da Ressaca; Sítio Morrinhos; Casa Modernista da Rua Santa Cruz; Monumento à Independência e Capela Imperial; Beco do Pinto e Chácara Lane. Esta dissertação aborda a constituição e a trajetória dessa instituição multinucleada. A pesquisa propõe a análise das relações que envolvem o caráter documental desses objetos arquitetônicos e seu uso museológico. Pretende-se assim compreender o fato museológico \"Museu da Cidade de São Paulo\"; examinar o fenômeno museológico da gestão (salvaguarda e comunicação) do acervo arquitetônico do Museu; e identificar, no processo de musealização, as formas de abordagem do artefato arquitetônico.The Museu da Cidade de São Paulo is located in buildings of historical and architectural interest, distributed through the urban fabric of the city. This architectural heritage - the physical structure and at the same time one of the platforms for actions and programs of the museum - is currently composed by the Solar da Marquesa de Santos; Casa nº 1 or Casa da Imagem; Capela do Morumbi; Casa do Bandeirante; Casa do Sertanista; Casa do Tatuapé; Casa do Grito; Sítio da Ressaca; Sítio Morrinhos; Casa Modernista da Rua Santa Cruz; Monumento à Independência e Capela Imperial; Beco do Pinto e Chácara Lane. This dissertation addresses the formation and history of this multinucleated institution. The research proposes the analysis of the relationships involving the documentary nature of these architectural objects and its museum use. This study intends to understand the fact museum \"Museu da Cidade de São Paulo\"; examine the phenomenon of museum of the management (protection and communication) of the Museum\'s architectural collection, and identify, in the musealization process, the approach of the architectural artifact.
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Kiefer, Flavio. "MAM Museu de Arte Moderna do Rio de Janeiro MASP Museu de Arte de São Paulo : paradigmas brasileiros na arquitetura de museus". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 1998. http://hdl.handle.net/10183/1313.
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Este trabalho analisa a arquitetura do MAM - Museu de Arte Moderna do Rio de Janeiro - e MASP - Museu de Arte de São Paulo - a partir do estudo da história da arquitetura dos museus desde a sua fundação no século XVIII e da análise dos condicionantes que distinguem e particularizam esses edifícios. A moderna arquitetura brasileira, geradora dos princípios de projeto que geraram esses dois museus, mereceu um capítulo próprio. Para um melhor entendimento da arquitetura desses dois museus brasileiros, são abordados os aspectos históricos de suas construções, suas inserções urbanas, funcionalidade, estrutura, materiais e técnicas construtivas, além do seu papel na história da arquitetura brasileira. Em anexo, apresentam-se os traços biográficos de seus arquitetos, Affonso Eduardo Reidy e Lina Bo Bardi, respectivamente, e um breve estudo sobre condicionantes museológicos. Isso fundamenta a análise e pode servir como guia de referência para estudo ou elaboração de projetos de museus.
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Santos, Andréa Maria Zabrieszach Afonso dos. "A Casa do Bandeirante como espaço museológico (1954-1964)". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-25102016-105146/.
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Esta dissertação tem por objetivo abordar historicamente a construção física e simbólica da Casa do Bandeirante, um museu evocativo da época das bandeiras. Ela foi inaugurada em 1955, no encerramento das comemorações do IV Centenário da Cidade de São Paulo, tendo sido sua restauração realizada sob responsabilidade da comissão organizadora desses festejos. Primeira das \"casas históricas\" pertencente à Prefeitura Municipal, compõe o atual acervo arquitetônico do Museu da Cidade. Este projeto analisa o período que se estende de 1954 a 1964, durante a primeira fase do museu, sob a direção de Paulo Camilher Florençano, quando o espaço fora projetado para ser um cenário do modo de vida paulista durante o período colonial. Naquele momento a Casa do Bandeirante tratava heroicamente o \"ciclo das bandeiras\", mitificando-o, a partir de uma exposição por meio do period room, eixos conceituais da exposição que lá esteve até 1978. São objetivos desta dissertação compreender e analisar o processo conceitual e institucional de criação da Casa do Bandeirante pela Prefeitura de São Paulo, através da Comissão do IV Centenário da Cidade de São Paulo, problematizar a primeira montagem curatorial, com a formulação de uma identidade paulista calcada no mito sertanista e seus referenciais museológicos, a formação e o perfil de seu acervo de peças históricas.This dissertation aims to approach, historically, the physical and symbolic construction of The Bandeirante House, an evocative museum of the time of \"bandeiras\" (former Brazilian settlers). It was inaugurated in 1955, at the end of the celebrations of the IV Centenary of the City of São Paulo, with its restoration being carried out under the responsibility of the organizing committee of those festivities. The first of the \"historical homes\" belonging to the city hall, it is part of the current architectural collection of São Paulo\'s city museums. The time covered in this project extends from 1955 to 1964, during the first period of the Museum, under the direction of Paul Camilher Florençano, when this cultural space was designed to present a scenario of the way of living in São Paulo during the colonizer period. At that moment, The Bandeirante House conceived heroically the \"Bandeirante Cycle\", dealing with as a myth by the presentation of an exhibition by period room, conceptual guidelines of the exhibition held until 1978. The goals of this dissertation are to analyze the conceptual and institutional creating process of the Bandeirante House, to understand and document its acquisition policy and to discuss the first long term exhibition of the institution, based the \"sertanista myth\" and its museum references.
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Plagens, Emily S. Hafertepe Kenneth. "Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum /". Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.
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Barbosa, Marina Martin 1985. "MASP e MAM : percursos e movimentos culturais de uma época (1947-1969)". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281319.
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Orientador: Silvana Barbosa RubinoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas e Università Ca' Foscari Venezia
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Resumo: Esta pesquisa trata de que forma se estabeleceram as redes culturais na cidade de São Paulo a partir do pós-Segunda Guerra Mundial, mediante análise dos percursos do Museu de Arte de São Paulo (MASP) e do Museu de Arte Moderna de São Paulo (MAM), com especial atenção aos diálogos travados por seus comitentes e idealizadores, representados nas figuras de Assis Chateaubriand, Pietro Maria Bardi e Francisco Matarazzo Sobrinho. O período histórico abordado corresponde ao da primeira fase de funcionamento dos museus em questão, que compreende desde suas fundações à reaberturas em novas sedes na Avenida Paulista e Parque Ibirapuera (1947-1969). O MASP e o MAM se afirmaram em um momento de plena transformação física, demográfica, econômica e social da cidade, caracterizada pela presença marcante de imigrantes, em confluência com o desenvolvimento dos meios de comunicação de massa. Inseridos em um clima de intensa colaboração internacional, esses museus projetaram o país, a cidade e a si mesmos dentro do cenário artístico e cultural internacional
Abstract: This research covers the process of establishing cultural connections inside the city of São Paulo beginning during the post-World War II period, by analyzing the directions taken by the Museum of Art of São Paulo (MASP) and the Museum of Modern Art of São Paulo (MAM). Special attention is given to the nterconnections established by their clients and creators, such as Assis Chateaubriand, Pietro Maria Bardi and Francisco Matarazzo "Ciccillo" Sobrinho. The historical period analyzed, 1947 to 1969, encompasses the formative activities of these two museums, spanning from the drafting of their constitutions to reopening in new headquarters on Avenida Paulista and at Ibirapuera Park. The success of MASP and MAM coincided with the development of mass media during a period of complete physical, demographical, economic and social transformations in the city of São Paulo, spurred by the strong presence of immigrants. Inserted into an atmosphere of deep international collaboration, these institutions vaulted the nation, the city and the museums themselves into the global artistic and cultural scene
Doutorado
Politica, Memoria e Cidade
Doutora em História
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Teixeira, Regina Pinheiro Penteado. "O MAM visto pelos professores: marcas de distinção". Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/10799.
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Previous issue date: 2010-05-20The theme of this work, the relationship between the museum and the school, emerges from the fact that the museum offers education and the school absorbs such an offer. The problem of the proposed research branches from the sociologist Pierre Bourdieu s investigations on the relationships among the cultural capital, the geographical location and the access to cultural objects. The research s subjects are elementary school teachers from public and private schools in São Paulo county, who joined the Programa de Visitação às Exposições of the Museu de Arte Moderna de São Paulo (MAM) in 2009. We investigated how the teacher s social position in the teaching hierarchy and the location of the school reflect the professional s attendance to such visitation program. A second question concerns the assessment of the teacher s opinions about the visitation with his students. The aim of this study is to query if the teacher s opinions about the visitation to the museum reflect his social position. To achieve such a goal one hundred (100) teacher s responses to an assessment form used by the MAM s Setor Educacional - Relatório de impressões de visitas - professor -, were analyzed. The research hypothesis is that the teacher s opinions about the visitation to the museum is in line with the hierarchical position he occupies within his group, position which is the overall result of his movability within the cultured culture, his cultural capital and his working conditions. For data analysis we rely mainly on the notion of cultural capital coined by Pierre Bourdieu. To assess the quality of life, the county s Índice de Desenvolvimento Humano Municipal de São Paulo (IDH-M) was used. The results point to teacher s hierarchical differences in the geographical distribution between public and private schools. The teacher's opinions about the visitation to the art museum revealed traces of teacher s hierarchical distinction between public and private school systems, and less frequently between the levels of education in which the teacher works
O tema desse trabalho, a relação entre o museu e a escola, emerge da constatação de que o museu oferece educação e que a escola absorve tal oferta. O problema de pesquisa proposto decorre dos questionamentos do sociólogo Pierre Bourdieu a respeito da relação entre o capital cultural, o fator geográfico e o acesso aos bens culturais. São sujeitos desta pesquisa os professores do ensino fundamental da rede pública e privada do município de São Paulo que aderiram ao Programa de Visitação às Exposições do Museu de Arte Moderna de São Paulo (MAM), no ano de 2009. Investigamos como a posição social ocupada pelo professor na hierarquia docente e a localização geográfica da escola refletem na adesão deste profissional a tal programa. Uma segunda questão incide na apreensão do julgamento que o docente faz da visita ao museu de arte com o seu grupo. O objetivo deste estudo é apreender se o julgamento do professor sobre a visita espelha sua posição social. Para atingir tal objetivo foram analisadas cem (100) respostas dos professores no Relatório de impressões de visitas - professor , instrumento usado pelo Setor Educativo do MAM. A hipótese de pesquisa com a qual trabalhamos é a de que o julgamento do professor sobre a visita ao museu é consonante com a posição hierárquica que ocupa no grupo, fruto do seu trânsito na cultura culta, do seu capital cultural e das condições de trabalho docente. Para proceder à análise dos dados, nos apoiamos principalmente na noção de capital cultural cunhada por Pierre Bourdieu. Para aferir a qualidade de vida distrital foi empregado o Índice de Desenvolvimento Humano Municipal de São Paulo (IDH-M). Os resultados encontrados apontam para disparidades hierárquicas de distribuição geográfica das escolas públicas e particulares. O conteúdo da opinião do professor sobre a visita ao museu de arte revelou traços de distinção hierárquica docente entre as redes de ensino e, em menor freqüência, entre os níveis de ensino no qual o professor atua
Livros sobre o assunto "Paulus Museum"
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kleine, Bornhorst Josef, ed. St. Paulus Worms 1002-2002: Kollegiatstift, Museum, Dominikanerkloster. Mainz: Selbstverlag der Gesellschaft für Mittelrheinische Kirchengeschichte, 2002.
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Paulius Galaunė: Monografija. Vilnius: Vaga, 1988.
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John, Azzopardi, ed. St. Paul's Grotto, Church, and Museum at Rabat, Malta. Rabat, Malta: Progress Press, 1990.
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Blaser, Werner. Zentrum Paul Klee, Renzo Piano, ArchiMorphose. Basel: F. Reinhardt, 2005.
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Bardi, Lina Bo. Museu de Arte de São Paulo =: São Paulo Art Museum : São Paulo, Brasil, 1957-1968. São Paulo: Instituto Lina Bo e P.M. Bardi, 1997.
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Museu de Arte Moderna de São Paulo. Grupo de Estudos de Curadoria. Grupo de Estudos de Curadoria: Exposições organizadas em 1998 e 1999. Editado por Chaimovich Felipe Soeiro, Costa Magnólia, Rivitti Thais, Soares Carolina e Museu de Arte Moderna de São Paulo. São Paulo]: Museu de Arte Moderna de São Paulo, 2008.
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Cárdenas, Alexandra Silva. MASP: Estrutura, proporção, forma. São Paulo: Hedra, 2015.
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True, Marion. The Getty Villa. Los Angeles, CA: Getty Trust, 2005.
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True, Marion. The Getty Villa. Los Angeles: J. Paul Getty Museum, 2005.
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Miyoshi, Alexander Gaiotto. Arquitetura em suspensão: O edifício do Museu de Arte de São Paulo. Campinas, SP: Armazém do Ipê, 2011.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Paulus Museum"
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Herruzo, Ana, e Nikita Pashenkov. "Collection to Creation: Playfully Interpreting the Classics with Contemporary Tools". In Proceedings of the 2020 DigitalFUTURES, 199–207. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4400-6_19.
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AbstractThis paper details an experimental project developed in an academic and pedagogical environment, aiming to bring together visual arts and computer science coursework in the creation of an interactive installation for a live event at The J. Paul Getty Museum. The result incorporates interactive visuals based on the user’s movements and facial expressions, accompanied by synthetic texts generated using machine learning algorithms trained on the museum’s art collection. Special focus is paid to how advances in computing such as Deep Learning and Natural Language Processing can contribute to deeper engagement with users and add new layers of interactivity.
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"Heritage and Memory". In Cultural China 2020: The Contemporary China Centre Review, 85–102. University of Westminster Press, 2021. http://dx.doi.org/10.16997/book58.f.
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This chapter explores the complex and contested relationship between memory and heritage. It covers topics such as notions of authenticity, intangible heritage, and commemoration and museums. Chapter contents: 5.0 Introduction (by Giulio Verdini) 5.1 Grassroots Values and Local Cultural Heritage in China (by Harriet Evans) 5.2 ‘When It Comes to Intangible Cultural Heritage, Everyone Is Always Happy’: Some Thoughts on the Chinese Life of a UNESCO Convention (by Philipp Demgenski) 5.3 Ruins on Ruins: Forgetting, Commemorating, and Re-Forgetting the Third Front (by Paul Kendall) 5.4 Complex Collections, Contentious Memories: Reflections on the Jianchuan Museum Cluster (by Lisheng Zhang)
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"The Art of Memory: São Paulo’s AfroBrazil Museum". In Politics of Memory, 203–18. Routledge, 2013. http://dx.doi.org/10.4324/9780203119075-19.
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Hutchings, Arthur. "Introduction. Mozart and the concerto". In A Companion to Mozart’s Piano Concertos, 1–3. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198167082.003.0001.
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Abstract Having discovered the spellings ‘Mozerth’ and ‘Mozer’ in parish registers around Salzburg, anti-Semitic authorities order the destruction of all Mozart’s work except a few representative scores to be deposited in the Museum of Degenerate Art. What shall we spare? Of course the operas, and then-the symphonies or the concertos ? If Worcester or St. Faul’s must be destroyed, for which shall we plead? We may like gothic and dislike Wren, whose dome is a funnel, whose ornament domestic; St. Paul’s may be an amazing hybrid, bu.t we shall spare the only St. Paul’s and we shall retain the Mozart concertos. They, too, are amazing hybrids and their artist something of an engineer.
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Fant, Clyde E., e Mitchell G. Reddish. "Southern Cyprus". In A Guide to Biblical Sites in Greece and Turkey. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780195139174.003.0052.
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In Southern Cyprus the principal site of interest is Paphos, where the Apostle Paul encountered the Roman governor of Cyprus, Sergius Paulus. But other fine sites of interest range from Paphos to Larnaca, a distance of approximately 80 miles. Since there are airports in both locations and ferries arrive at Limassol, a visit might begin at any one of these places. In any case, with an early start it is possible to make a round trip between Paphos and Larnaca in one day and see the principal sites. A much easier itinerary, however, involves seeing the sites in the Paphos area on one day and the sites in Larnaca on another day, along with those between Paphos and Larnaca. The two sites in the south referred to in the Bible are Paphos and Kition (Kittim), which is mentioned in the Hebrew scriptures. Related sites include St. Paul’s Pillar, the Catacombs of Agia Solomoni, the Tombs of the Kings, Paleopaphos, the Temple of Aphrodite, Kourion, the Temple of Apollo, and the Church of St. Lazarus, as well as several museums. The route below begins at Larnaca and proceeds toward Paphos, since that is the direction Paul and his companions traveled. At one time, Kition was one of the greatest naval powers in the Mediterranean, and its mercenaries even served in the deserts of southern Judea. Today its ruins still suggest the might of this ancient city. The site of ancient Kition, known in the Bible as Kittim, is located in the modern city of Larnaca. In the construction of Larnaca, whose name likely came from the Greek word for sarcophagus (larnax), or coffin, many sarcophagi were unearthed from ancient Kition. Larnaca was the location of a settlement of Mycenaeans as early as the 13th century B.C.E. Later abandoned, the site was rebuilt around 1200 B.C.E. by Achaean refugees following the destruction of the great Mycenaean centers of mainland Greece. A second wave of immigrants arrived about 1150 B.C.E. The original mud-brick city walls were rebuilt in the 12th century B.C.E. with cyclopean stones, huge rectangular ashlar blocks. After an earthquake in 1075 B.C.E., the city was resettled closer to the sea.
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de Moya, Alvaro. "The First International: I Exposicao Internacional de Historias em Quadrinhos". In Comic Art in Museums, 98–103. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0009.
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This chapter contains the 2017 recollection by curator and professor Alvaro de Moya about the birth and growth of comics fandom in Brazil, and the organization of I Exposicao Internacional de Historias Quadrinhos, the first known international exhibition and comics studies conference held in San Paulo at the Centro Cultura e Progresso with the participation of Will Eisner. de Moya discusses his advocacy for the comics medium during the rest of his career.
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"Reinventing the Void: Sao Paul's Museum of Art and Public Life along Avenida Paulista". In Ordinary Places/Extraordinary Events, 69–93. Routledge, 2008. http://dx.doi.org/10.4324/9780203001219-9.
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Façanha, Astrid, e Lisbeth Rebollo. "DO FIGURATIVISMO AO ABSTRACIONISMO: a exposição que inaugurou o Museu de Arte Moderna de São Paulo". In Institucionalização da arte moderna brasileira, 215–31. Life Editora, 2024. http://dx.doi.org/10.29327/5395814.1-12.
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Artigo sobre a inauguração do Museu de Arte Moderna de São Paulo (MAM-SP), no ano de 1949. Uma série de manifestações inconformistas, em torno da arte moderna, na primeira metade do século 20, convergiram para que a cidade de São Paulo ganhasse um espaço destinado a esta nova arte, nos moldes do MOMA, em Nova York. O término da segunda guerra mundial influencia a oferta de obras no velho continente. No Brasil, o otimismo em relação à chamada quarta república trouxe um respiro de democracia, ao mesmo tempo em que o país alinhava suas políticas externas com os interesses norte-americanos. A exposição de abertura do museu, Do figurativismo ao abstracionismo, não teve arte figurativa. Esta, passa a ser considerada datada, segundo a proposta evolucionista e emancipatória que levaria à abstração. Localmente, uma nova sociedade industrial e urbana começava a se formar. A pacata São Paulo estava a ponto de virar a Paulicéia Desvairada. Com muita ousadia e sob uma chuva de controvérsias, a inauguração do Museu de Arte Moderna é a materialização do ideal de uma mudança paradigmática que ainda demoraria a se firmar.
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Dolgoy, Rebecca Clare. "‘An act of wilful defiance’: Objection, Protest and Rebellion in the Imperial War Museum’s First World War Galleries". In Mediating War and Identity, 37–53. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474446266.003.0003.
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In spite of its purveyance of British stalwart tropes such as “the Tommies and the Officers”, the Imperial War Museum’s (IWM) new First World War Galleries feature stories of conscientious objectors and Irish Republicans, whose resistance to the war transgressed prevailing norms. They also highlight poet/soldier Siegfried Sassoon’s Soldier’s Declaration, a widely-circulated critical letter he intended as “an act of wilful defiance”. However, though these stories are displayed, this chapter argues that both the curatorial apparatus surrounding them (e.g. texts, objects), and the IWM’s historicizing of the past by claiming to present the events as they unfolded at that time subsume transgression in normative orders. This chapter contextualizes close readings of these three portrayals of transgression within broader Museum and Memory Studies discourses. It also situates the IWM’s narratives of mythic togetherness and tacit imperialism as an expression of what Paul Gilroy has defined as “postcolonial melancholia” as it is found in wider conceptions of British identity throughout the WWI Centenary commemorations – a period that loosely corresponded with the Brexit campaign and its consequences.
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Fischer, Steven Roger. "The Franco-Belgian Expedition of 1934-35 and Alfred Metraux". In Rongorongo The Easter Island Script, 158–71. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198237105.003.0017.
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Abstract The Director of the MusÉe d’Ethnologie (today’s MusÉe de !’Homme) at the Trocadero in Paris, the celebrated French ethnologist Paul Rivet, was unduly excited by Guillaume de Hevesy’s claim of a possible genetic relationship between Easter Island’s rongorongo and the Indus Valley script. As soon as he could, Rivet journeyed with the Belgian ethnologist Henri Lavachery to Braine-le-Comte in Belgium in order to see Jaussen’s tablets for himself at the SSCC’s small ethnographic museum. It was here at this museum, Lavachery (1935a: 50) claimed, that both Rivet and he conceived the idea to initiate a Franco-Belgian archaeological and ethnological expedition to Easter Island that could test de Hevesy’s hypothesis through field data.
Trabalhos de conferências sobre o assunto "Paulus Museum"
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de Souza Martínez, Elisa. "Rememorar o lugar da mão do povo: entre São Paulo e Caribe colombiano." In Colóquio do Comitê Brasileiro de História da Arte. Comitê Brasileiro de História da Arte, 2021. http://dx.doi.org/10.54575/cbha.40.16.
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O termo “exposições rememorativas” (remembering exhibitions) engloba uma tipologia de eventos que, segundo Reesa Greenberg, reeditam exposições. Entre os modos de rememorar destaca-se a reencenação, seja com o deliberado propósito de render homenagem ou para interpretar livremente princípios, teóricos ou práticos, do evento original. Este texto aborda um conjunto de eventos que remetem à exposição A mão do povo brasileiro, organizada por Lina Bo Bardi no Museu de Arte de São Paulo (Masp) quando este teve sua sede transferida para a Avenida Paulista, em 1969. Associam-se a esse evento sua reencenação em 2016 no Masp e a Sala de la Acción, um segmento da exposição permanente do Museo del Caribe Gabriel García Márquez em Barranquilla, Colômbia, inaugurado em 2008. A atribuição de autoria é analisada no contexto de projetos expográficos em museus e afins.
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Canto, Aylana, e Ana Helena da Silva Delfino. "The MASP online: the educational strategies from the museum in the pandemic". In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.69.
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This article has the target sharing the current research of master degree circumscribed into the Program of Post-graduation in Museology from Federal University of Bahia (PPGMuseum/UFBA) oriented by Ph.d Ana Helena da S. Duarte. In our research we make inquiries into the action of cultural mediation proposed and done by the Museu de Arte de Sao Paolo – MASP during the COVID-19 pandemic. In such a way specially, though, on the Instagram Social Media this Museum interchanged and instigated your audience to learn, to interact and to produce with art objects from your collection. Therefore, through the educational strategies we consider Triangular Approach and Online Educational Museum foundation of your path. As mentioned previously the way to introduce the reader, in our research we investigated the online educational actions did it by the Museu de Arte de Sao Paolo MASP, at the moment of COVID-19 pandemic. The investigation pursues and explores the educational strategies elaborated, designed and done by the MASP and your team for your audience in the virtual place, i.e, the online mode. While theories reference, our base, it is three fundamental axis: Educational Theory of Paulo Freire(Educator and Brazilian Philosopher), and the influence into the Brazilian Educational Museum, Triangular Approach used firstly by Ana Mae Barbosa (educator, pioneer in art-education because of her systematization of the Triangular Approach) and the Greimassian’s Semiotic Theory (Research line of Semiotic study the relation among plans of text circumscribed in relationship through the languages, created by Algirdas Julien Greimas, this theory made possible the investigation of the texts). Combined, brings to light the analysis of the production of the sense from the MASP’s audience. Through of the discourses and texts produced by the Museum Educational team, mediated for Cultural Mediation in a constant dialogue with the concept of Online Educational Museum (OEM) proposed by the Researcher Frieda Marti (Ph.D from the Program of Post-Graduation Education College in the University of the State of Rio de Janeiro - PROPED/UERJ). In this logic, the methodological procedure of the research is based on theory approach and bibliography (theoretical instrumentalisation of concepts for the research) and the analytics investigation in a study case (the analysis of discourses of Online Cultural Mediation from MASP during the pandemic). Our highlight, our general objective, is set a relation between educational actions and the methodologic strategies in Online Cultural Mediation developed by MASP, mediated by analysis of the production made for the audience in this process, assumed the action in the virtual as a contribution for the Brazilian Educational Museum, in context of the pandemic and social isolation – from March 2020 to August 2021. For this purpose, our research problem is to think of the Educational Museum in the pandemic. Indeed our path is in the direction to enrich the Educational Museum, therefore one of the main objectives is reflecting and creating a healthy environment to debate the Educational Museum in the context of pandemic and social isolation in Brazil.
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Politano, Stela. "Transparência no MASP: exposições didáticas". In Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3999.
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Este pequeno devaneio visa pensar a idéia de transparência como objeto apropriado pela arte contemporânea servindo primeiramente de suporte (vidro) e, posteriormente como a própria obra de arte. Para tanto, escolheuse como pano de fundo a expografia do Museu de Arte de São Paulo – MASP - da rua 7 de Abril, de 1947 a 19511 - mas especificamente as exposições didáticas - momento especial de profusão e inclusão de novas idéias e propostas no campo artístico. Define-se qual a importância da transparência nas artes e nos museus, percorrendo a idéia de expografia proposta pelo MASP, inserido este em momento decisivo em São Paulo (família artística paulista, estrangeiros no país, pós-guerra, mudança no olhar para as artes, passagem da figuração para a abstração), que buscava, através de painéis didáticos e “transparentes”, levar ao espectador novas idéias sobre arte.
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Politano, Stela. "MASP em revisão: museu transparente". In Encontro de História da Arte. Universidade Estadual de Campinas, 2009. http://dx.doi.org/10.20396/eha.5.2009.4027.
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A “Exposição Didática”, realizada no Museu de Arte de São Paulo, em 1947, constituiu um dos marcos iniciais da instituição museográfica dirigida por P.M.Bardi. Perante a formação do acervo, dos novos cursos, palestras e exposições de artistas nacionais e internacionais, a linha de raciocínio historiográfico e artístico da exposição amarrava todas as ações do italiano: a didática, do passado ao presente cultural e artístico, dominava o primeiro andar do edifício dos Diários Associados. Com ajuda do Studio d’Arte Palma (Roma) e de pesquisadores e historiadores importantes do contexto italiano e internacional, a “Exposição Didática” foi a base sólida para a construção e elevação do MASP ao patamar dos museus mais importantes do mundo.
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Alvarado Pérez, Cristabel Evelia, Eulàlia García Franquesa e Joan Antoni Pastor Collado. "Oportunidad y Necesidad de la Planificación Estratégica de la Transformación Digital en los Museos de Historia Natural". In Congreso CIMED - II Congreso Internacional de Museos y Estrategias Digitales. Valencia: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/cimed22.2022.15584.
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La transformación digital debe abordarse estratégicamente en toda organización, pues genera retos complejos de mejora e innovación en las personas, los procesos, los sistemas y las tecnologías. No se trata únicamente de inversión tecnológica, se trata de plantear formas mejoradas de implementar la misión de la organización, repensando sus funciones principales para beneficiarse de lo digital. Por eso, conviene abordar dicha transformación desde el planteamiento estratégico, evitando las actuaciones aisladas y maximizando el apoyo de la institución con proyectos digitales bien fundamentados. La transformación digital constituye un proceso complicado que exige gran compromiso, el desarrollo de nuevas capacidades, posibles reestructuraciones organizativas, la superación de inercias y la gestión del cambio. Lo dicho hasta aquí sirve para el común de las organizaciones, pero aún más para instituciones de especial propósito y complejidad, como es el caso de los museos, especialmente los museos de historia natural. Durante las últimas décadas los museos también han apostado por la innovación digital, aunque parece que con un ritmo más lento que otros sectores, por lo que hoy todavía muchos museos están lejos de alcanzar la madurez digital. La percepción del sector patrimonial es que los museos de historia natural llevan cierta ventaja digital sobre otras temáticas museísticas, motivada por la gran complejidad y volumen de sus colecciones. En tales circunstancias, la planificación estratégica de su transformación digital, y el correcto liderazgo en el despliegue de los proyectos digitales, resultan cruciales para establecer pautas, objetivos y proyectos estratégicos, que apoyen el logro de su misión y potencien su relevancia en la sociedad actual. Aunque la relativa escasez de recursos y disponibilidad del personal puedan dificultar la transformación digital en muchos museos, dichas limitaciones se pueden encajar mejor con el correcto liderazgo institucional y mediante el uso de pautas y métodos adaptados especialmente a la realidad museística; que permitan planificar y abordar la transformación digital con un enfoque estratégico, metódico, sistemático, transversal, que minimice los riesgos asociados y maximice las oportunidades de éxito. Con objeto de explorar dicho enfoque estratégico, el Museo de Ciencias Naturales de Barcelona y la Universidad Politécnica de Cataluña están cooperando en un proyecto de investigación aplicada, aprobado y financiado por el Programa de Doctorados Industriales de la Generalitat de Catalunya, del que resulte un método para la planificación estratégica de iniciativas de transformación digital en museos de historia natural, así como un primer plan de transformación digital para dicho museo.
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Lemos, Eric Danzi. "A fotografia no museu histórico e no museu de arte: a assimilação das imagens de Theodor Preising em coleções do Museu Paulista e do MASP". In Encontro da História da Arte. Universidade Estadual de Campinas, 2014. http://dx.doi.org/10.20396/eha.10.2014.4127.
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Pretendemos analisar o colecionismo de imagens produzidas pelo fotógrafo Theodor Preising (1883-1962) em dois contextos institucionais distintos: em um museu histórico e em um museu de arte. No Museu Paulista da USP, o conjunto de fotografias de Theodor Preising que tomaremos como objeto de estudo, foi incorporado em 1991, procedente da coleção de uma família de imigrantes alemães, os Wanschel. Trata-se de cinquenta e duas fotografias contendo registros da paisagem natural, rural e urbana do estado de São Paulo durante a década de 1920. No Museu de Arte de São Paulo Assis Chateaubriand (MASP) as imagens de autoria do fotógrafo alemão naturalizado brasileiro, foram adquiridas em 2004, na ocasião da 13ª edição da coleção Pirelli/MASP de Fotografia, provenientes do arquivo sob custódia dos herdeiros, Douglas e Lúcia Aptekmann. As sete fotografias incorporadas pelo MASP foram produzidas por Theodor Preising entre as décadas de 1920 e 1940, sendo cinco registros do estado de São Paulo e dois do estado do Rio de Janeiro.
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Almeida, Débora Elise de. "A relação da pintura de retrato e personalidades retratadas da sociedade paulistana: características e importância para a arte". In Encontro de História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4352.
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Esse artigo tem por objetivo identificar através de minha pesquisa nos retratos do acervo do Museu da Santa Casa de São Paulo, as relações da pintura de retratos e a sociedade paulistana retratada em importância para a História da Arte no decorrer do processo de análises interpretativas e a busca de um significado para a validação das obras junto com a importância histórica da criação do Hospital Santa Casa de Misericórdia de São Paulo, seu olhar através da história e criação do Museu até os dias de hoje.
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Silva, Matheus Henrique Gonçalves. "O Museu de Arte Contemporânea da USP como dispositivo para se discutir o contemporâneo". In Encontro de História da Arte. Universidade Estadual de Campinas, 2017. http://dx.doi.org/10.20396/eha.12.2017.4546.
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Quais são as estratégias de atuação do Museu de Arte Contemporânea da USP frente a arte contemporânea de seu tempo? Antes de continuar é importante lembrarmos que, quando tratamos do MAC-USP, tratamos de uma instituição cujo acervo fora herdado do antigo Museu de Arte Moderna de São Paulo em 1963.
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Cruz Barbosa, Jennifer Carolina. "Aplicaciones e-learning para la promoción de contenidos culturales". In Congreso CIMED - II Congreso Internacional de Museos y Estrategias Digitales. Valencia: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/cimed22.2022.15451.
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Actualmente existen diversas formas por medio de las cuales los museos comparten sus colecciones, datos y experiencias disponibles hacia el público. Todas ellas enriquecen la comunicación y la interacción museo – usuarios. A la oferta de contenidos, puede ser agregado el aprendizaje en línea.El e-learning es una modalidad formativa que tiene como principal cualidad la flexibilidad, ya que permite a los estudiantes el consultar los contenidos sin depender de la ubicación geográfica, horarios o un dispositivo en específico. Esto refleja una ventaja al momento en que la entidad u organización desea compartir temas referentes a sus exposiciones.El e-learning se compone de multimedia, diseño instruccional y un aula virtual. Para desarrollar correctamente estos factores, existen metodologías de trabajo (el modelo ADDIE), softwares (suite de Adobe, Captivate, Articulate) y plataformas digitales (Moodle, YouTube, Wordpress), al alcance.Los museos cuentan con diferentes recursos y temas que pueden ser compartidos a través de este proceso de enseñanza. La narrativa en la museografía aplicada puede ser traducida a la narrativa aplicada en contenidos de aprendizaje en línea. Estos contenidos deben ser desarrollados siguiendo objetivos de enseñanza, de retribución económica – publicitaria y de respuesta positiva por parte de los participantes.Entre los contenidos que se pueden desarrollar en el e-learning, se encuentran videos, SCORM (contenidos interactivos), recorridos virtuales, lecturas, MOOCs, cuestionarios, infografías, entre otros. Estos deben ser alineados con las finalidades, las capacidades y necesidades del museo.La aplicación del e-learning permite tener un repositorio de materiales interactivos y brinda un nuevo canal para empatizar con el público, y se convierte en una herramienta para analizar su consumo, ya que se podrán obtener datos cuantitativos y cualitativos sobre qué temas del museo son claros y de interés, y cuales necesitan una mejora en su desarrollo y presentación.La propuesta dependerá siempre de las viabilidades y limitantes del museo. La presente comunicación brindará las pautas necesarias para dar los primeros pasos de acercamiento hacia la digitalización y creación de contenidos de enseñanza en las instituciones culturales.
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Hurbut, James, e Jack Thompson. "Diamonds of the Paul Seel micromount and the Denver Museum collections". In 26th Annual New Mexico Mineral Symposium. Socorro, NM: New Mexico Bureau of Geology and Mineral Resources, 2005. http://dx.doi.org/10.58799/nmms-2005.297.
Texto completo da fonteRelatórios de organizações sobre o assunto "Paulus Museum"
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Mystery and Mysticism in Dominican Art. Inter-American Development Bank, outubro de 1997. http://dx.doi.org/10.18235/0006418.
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Seventy objects, including pre-Columbian Taino pieces, colonial silver, popular religious art, and contemporary paintings and photographs by Paul Giudicelli, Eligio Pichardo, Raúl Recio and Maritza Alvarez, among others; from the Museum of the Dominican Man, the Garcia Arevalo Foundation, and the José S. Muñoz collection, and other private collections.
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2da Bienal Interamericana de Video Arte del Centro Cultural del BID. Inter-American Development Bank, outubro de 2005. http://dx.doi.org/10.18235/0006115.
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Después de su presentación en Washington, D.C., la bienal comenzó el circuito itinerante en junio de 2005, en el Istituto Italo-Latino Americano (IILA) en Roma. Luego viajará a varios países que forman parte de un circuito de más de 13 países incluyendo Rusia, terminando en el XXII Festival de Cine de Santafé de Bogotá, Colombia www.bogocine.com/xxii/. Las instituciones del circuito incluyen: Espacio Fundación Telefónica, Buenos Aires, Argentina; Fundação Cultural de Curitiba, Curitiba, Brasil; 15 Videobrasil Internacional Electronic Art Festival, São Paulo, Brasil; Cine a la Calle, Cinemateca del Caribe, Barranquilla, Colombia; Museo de Arte Moderno, Cartagena, Colombia; Escuela Superior de Bellas Artes, Cartagena, Colombia; Fundación Museos del Banco Central de San José, Costa Rica; Fundación Octaedro, Quito, Ecuador; MECAD\Media Centre d'Art i Disseny de la Escola Superior de Disseny ESDi, Barcelona, España; Centro de Artes Visuales Contemporáneo de Mujeres en las Artes y Asociación de Mujeres en las Artes "Leticia de Oyuela," CAVC/ MUA, Tegucigalpa, Honduras; Museo de Arte Contemporáneo de Panamá, Panamá; Alta Tecnología Andina, Lima, Perú; Centro Cultural Eduardo León Jimenes, Santiago de los Caballeros, República Domnicana; y Do Vostrebovaniya, Volgograd, Russia.