A presente investigação examina a atuação de duas instituições museológicas paulistas o MASP e o MAC USP enfocando os pensamentos e práticas de seus dirigentes Pietro Maria e Lina Bo Bardi e Walter Zanini especialmente entre fins da década de 1960 e início da década de 1970. Através do estudo de textos desses diretores e de exposições por eles concebidas junto a essas instituições busca-se entender como suas concepções de arte e museu foram colocadas em prática. O frutífero histórico de ações e reflexões que envolveram as atuações do casal Bardi no MASP e de Zanini no MAC USP compuseram nessas instituições ambientes condizentes com a ideia de museu entendido como espaço vivo e atento à manutenção do diálogo com as suas funções sociais e com a dinâmica do meio no qual está inserido. / This research examines the performance of two museological institutions in São Paulo MASP and MAC USP focusing on the thoughts and practices of their directors Pietro Maria and Lina Bo Bardi and Walter Zanini especially between the late 1960s and the early 1970s. Through the study of these directors texts and exhibitions designed by them in these institutions we seek to understand how their conceptions of art and museum were put into practice. The fruitful historic of actions and reflections involving the actings of the couple Bardi in MASP and Zanini in MAC USP composed in these institutions environments harmonized with the idea of the museum understood as living space and attentive to the maintenance of the dialogue with its social functions and with the dynamics of the environment in which it is inserted.

O objetivo geral desta pesquisa é estudar os dispositivos de atuação dos agentes no campo das artes através dos vernissages, estes eventos sociais aglutinadores que servem não apenas para inaugurar uma determinada exposição, mas também como palco para a construção de capital simbólico e social, necessários para o funcionamento do próprio campo. Pretendemos analisar a atuação dos convidados no espaço expositivo e os conceitos associados à experiência pessoal de cada agente do campo artístico, a partir de entrevistas; por fim, pretendemos mostrar a importância dos vernissages para o mundo da arte. Por que o vernissage é importante? Sua existência traz, de antemão, um poderoso instrumento de divulgação e de coesão social – o convite privado e público que faz a seu público: um chamamento. Desta forma, pretendo apresentar um estudo relevante para uma melhor compreensão sobre o funcionamento do campo artístico, dos papéis dos diversos agentes nesse campo, mostrando que os vernissages podem ser, em boa medida, um importante instrumento para a própria construção do público de arte. / The general aim of this study is to investigate the mechanisms of the action of agents in the art world through vernissages (art openings), social events that bring people together, not just to open a particular exhibition, but also as the stage for the construction of symbolic and social capital necessary for the operation of the art world itself. It aims to analyse the behaviour of guests in the exhibition space and the concepts associated with the personal experience of each agent on the art scene conducted through interviews; and finally it aims to show the importance of these vernissages for the art world. Why is the vernissage important? Its existence is a powerful anticipatory instrument for publicising and for social cohesion – the private and public invitation that is created for its audience: a convocation. I intend to present a study that is relevant for a better understand of the running of the artistic field, and of the roles of the various players in the field, showing that vernissages may be, in large measure, an important instrument for the actual construction of art public.

Orientador: Maria do Carmo Martins / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-08T14:09:39Z (GMT). No. of bitstreams: 1 Kreidloro_ClaudiaAparecida_M.pdf: 105277670 bytes, checksum: 5629c314421eadf495d47f1619553ca0 (MD5) Previous issue date: 2007 / Resumo: Este trabalho problematiza a História do Museu da Cidade de Salto, cidade do interior do Estado de São Paulo, desde a sua instalação em dezembro de 1991, até o ano de 2005, quando o poder municipal demonstrou interesse em modificar a concepção original do Museu, direcionando-o a  outra leitura da história da cidade, passando pelo potencial educacional do Museu e os va¡rios temas por ele abordado como, a industrialização, a imigração italiana, a formação polí­tico-administrativa do município e a organização cultural. O trabalho aborda também o método de trabalho utilizado para a instalação do Museu, as politicas públicas do município e as suas implicações a respeito das representações culturais eleitas para compor a exposiçãodo Museu da Cidade de Salto / Abstract: This paper approaches the History of the Museum of the City of Salto, a city on the countryside of the state of Sao Paulo, from its implementation in december 1991 to the year 2005, when the city administration showed interest in changing the original conception of the Museum, directing it to a different rendering of the history of the city, including the Museum's educational possibilities and the subjects in its range, such as industrialization, the Italian immigration, the political and administrative formation and cultural organization of the city. The paper also focuses on the working method adopted for the implementation of the Museum, the public policies of the city and the reflections of these on the choice of the cultural items that compose the exhibits of the Museum of the City of Salto / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

O presente trabalho tem como objeto de estudo o patrimônio intangível ou imaterial e suas formas de musealização. Sendo os museus lugares máximos de presença do patrimônio, visa-se descobrir, identificar e metrisar as relações construídas entre os bens imateriais ou intangíveis e esses espaços. Para tanto a investigação parte da historicidade da definição de patrimônio, e em como se vinculam patrimônio material e imaterial. Em um segundo momento, o objeto de estudo é analisado in locu, no Memorial da Resistência de São Paulo, onde se aplica a parte experimental da pesquisa, e que correspondente ao seu terceiro momento, com o intuito de identificar como o imaterial é musealizado e como ele é percebido por seus públicos. Para tanto o foco da análise recai sobre o Programa Coleta Regular de Testemunhos, pois por meio dele o museu coleta a referência patrimonial a qual se dedica e constrói os processos museológicos do Memorial da Resistência de São Paulo. Deste modo, é empreendida uma análise das intenções do programa, sua relação com as demais linhas programáticas, e seus resultados verificados na exposição, por meio de fontes institucionais e avaliações de público. Por fim, uma análise mais geral busca localizar a participação dos atores sociais e agentes da memória nos processos de preservação. / The present work has as its studied objetc the imaterial or intagible heritage and their ways of musealization. Being the museums the maximum places of heritage presence, we aim to discover, identify and measure the built relationships between the immaterial or intangible assets and those spaces. To attend this purpose the research begins from the historicity of the definition of heritage, and how is the binding between tangible and intangible heritage. In a second step, the object of study is analyzed in locus in the Memorial of Resistance of São Paulo, where it is applied the experimental part of the research, and that corresponds to the third point of this research, in order to identify how the intangible is musealized and how it is perceived by its stakeholders. To do this the focus of analysis is on the Program of Regular Collection of Testimonies, because through it the museum collects the heritage reference in which works and builds the Memorial of Resistance of São Paulo\'s museological processes. Thus, an analysis is undertaken of the intentions of the program, its relationship with other programmatic lines, and their verified results on exhibition through institutional sources and reviews of public. Finally, a more general analysis seeks to locate the participation of social actors and memory agents on preservation processes.

O presente trabalho tem o intento de apresentar questões e proposições na construção de planos museológicos a partir das experiências do Museu Lasar Segall (MLS). No primeiro capítulo é apresentado o histórico do MLS, enfocando seu perfil museológico (escolhas conceituais) e suas práticas de gestão, assim como um paralelo de suas experiências com o pensamento museológico contemporâneo, e ainda um breve panorama com trabalhos acadêmicos que já foram realizados tendo o MLS como objeto. No segundo capítulo é descrito e apresentado o resultado do diagnóstico museológico que buscou mapear as funções e atividades do MLS hoje, sua cadeia operatória museológica, bem como sua relação com a sociedade. No terceiro capítulo, a partir dos anteriores, e permeando uma discussão sobre os processos de planejamento em museus, são apresentadas questões e propostas enfocando a construção de planos museológicos. / This work aims to present issues and propositions for the museological plan elaboration from the Lasar Segall Museum (MLS)\'s experiences. In the first chapter is presented the MLS\'history, focusing its museological profile (conceptual choices) and their management practices, as well a parallel of their experiences with contemporary museological thinking, and even a brief overview with academic studies that had been conducted having MLS as a study object. The second chapter describes and presents the results of museological diagnosis that intent to map the MLS\' functions and activities nowadays, its museological operative chain as well its relationship with society. In the third chapter, from the previous ones, and permeating a discussion about the planning processes in museums, are presented issues and proposals focusing on museological plan elaboration.

A partir da década de 1960, com o surgimento do novo paradigma da democracia sociocultural, diversas críticas direcionaram-se aos museus e à museologia e deram base para o surgimento de um movimento museológico internacional denominado Nova Museologia, oficializado em 1984 no I Atelier Internacional Ecomuseus/Nova Museologia, realizado em Québec (Canadá). A Nova Museologia enfatizou a vocação social dos museus e propôs diversas renovações teóricas e metodológicas ao campo museológico estabelecido. No Brasil, observamos repercussões desse movimento principalmente a partir da década de 1980, com a redemocratização do país. Paralelamente à renovação de museus já consolidados, surgem novas iniciativas, denominadas majoritariamente ecomuseus e museus comunitários, que objetivam, através de uma curadoria coletiva e da promoção de práticas ativas, populares, participativas, comunitárias e experimentais, a valorização, preservação e difusão dos patrimônios locais (Natural, Cultural, Material e Imaterial), garantir que o museu atue como espaço de representação e promova, a partir da contextualização do patrimônio, a compreensão, o questionamento, a conscientização e a transformação da realidade. O atual projeto de pesquisa teve como objetivos: revisar termos e conceitos ligados à Nova Museologia e a essa nova tipologia de museus em bibliografia pertinente ao tema, relacionando e confrontando autores diversos; realizar um mapeamento dos museus comunitários, ecomuseus e demais iniciativas de memória e patrimônio de base comunitária que se compreendem enquanto museus no contexto brasileiro; elaborar um panorama-síntese para uma melhor compreensão da diversidade dessa tipologia de museus. / Since the 1960\'s, with the emergence of the new paradigm of socio-cultural democracy, several criticisms were directed at Museums and Museology and this process triggered the emergence of an international museological movement called New Museology, made official in 1984 at the I Atelier International Ecomuseums / New Museology, held in Quebec (Canada). The New Museology emphasized the social vocation of museums and proposed several theoretical and methodological renewals to the established museological field. It is possible to observe repercussions of this movement in Brazil mainly from the decade of 1980, with the redemocratization of the country. Parallel to the renovation of already consolidated museums, new museological experiences are emerging, mainly called museums community and ecomuseums, which aim, through collective curation and the promotion of active, popular, participatory, community and experimental practices, the valorization, preservation and diffusion of local Heritage (Natural, Cultural, Material and Immaterial), to ensure that the museum acts as a space for representation and to promote, from the contextualisation of heritage, understanding, questioning, awareness and transformation of reality. The current research project aimed: revise terms and concepts related to New Museology and this new typology of museums in relevant bibliography, relating and confronting diverse authors; to carry out a cartography of community museums, ecomuseums and initiatives of memory and community-based heritage that is understood as a museum in the Brazilian context; elaborate a panorama synthesis for a better understanding of the diversity of this typology of museums.

[pt] Gustavo Barroso (1888-1959) desenvolveu um pensamento sistemático na área de museus, fruto de uma prática que pode ser percebida, sobretudo, através da criação do Museu Histórico Nacional (1922), do Curso de Museus (1932) e da Inspetoria de Monumentos Nacionais (1934). Admitindo a especificidade do pensamento museológico barrosiano, este trabalho busca analisar estas iniciativas de Gustavo Barroso considerando-as como um todo coerente e expressivo para identificar as coordenadas de seu projeto intelectual e para compreender como as noções de tradição, de museu e de patrimônio contribuíram para materializar um projeto de construção da memória nacional. / [en] Gustavo Barroso (1888-1959) was responsable for the systematization of a knowledge concerning museums. That knowledge came from a pratice that can be perceveid, above all, through the creation of Museu Histórico Nacional (1922), Curso de Museus (1932) and Inspetoria de Monumentos Nacionais (1934). This work takes in account specific aspects of the Barroso´s thoughts concerning museums how like all coherent and expressive for identify the setting of your intellectual project and to understand how the notions of tradition, museum and patrimony contributed to materialize a project of construction of the national memory.

Ancêtre du rebec médiéval, emblème de la musique arabo-andalouse ou encore instrument favori des bédouins arabes pour l’accompagnement de leurs récits et de leurs poèmes, le rebab, sous ses différentes variantes joue encore plusieurs fonctions et rôles qui diffèrent d’un peuple à l’autre et d’une région à une autre. Cette thèse a pour but l’étude approfondie des rebabs de l’Afrique du nord et du Moyen-Orient. Chaque variante de cet instrument est étudiée sur plus d’un plan : historique, organologique, musical et même acoustique. La classification et la muséologie de cet instrument, avec ses différentes variantes, sont aussi abordées dans ce travail. L’intérêt de cette thèse, réside dans l’étude approfondie des différents types de cet instrument, ainsi qu’aux liens existants entre eux, car nous pensons qu’aujourd’hui, tout comme pour le sujet du ‘ūd ou tout autre instrument, il faudrait avoir une approche scientifique globale sur le sujet du rebab. / Ancestor of the medieval rebec, the emblem of the Arab-Andalusian music or the favorite instrument of the Arabics Bedouins for the accompaniment of their narratives and their poems, the rebab, under its various variants, still plays several roles and functions which differ from each people and each region. This thesis aims at the in-depth study of the rebabs of North Africa and the Middle East. Every variant of this instrument is studied on more than a plan: history, organology, musical and even acoustic. The classification and the museology of this instrument, with its various variants, are also approached on this work. The interest of this thesis, lives in the in-depth study of the various types of this instrument, as well as in the existing links between them, because we think that today, as for the 'ud or any other instrument, it would be necessary to have a global scientific approach about the rebab.

Pour qui, à quelles fins, et comment exposer le théâtre? L’approche muséologique se veut ici à la fois méthode d’investigation du champ théâtral et éthique du muséal, dont elle envisage les enjeux, les moyens et la portée. L’exposition d’objets de théâtre, vestiges, témoins ou empreintes de la scène, ordonnés dans un parcours et intégrés à un propos, interroge la nature de l’événement scénique et de l’événement théâtral. Elle donne à voir l’objet en instance de signification, sans toutefois l’y réduire. Elle joue, pour ce faire, des affinités autant que des tensions entre présence scénique et présence muséale; elle offre, en réponse, une vision du théâtre en son histoire, mais aussi comme processus de création et de réception. L’exposition participe des temps du théâtre pour le visiteur et le spectateur d’aujourd’hui: elle peut être pensée à la fois comme espace de manipulation, par l'expositeur et par le visiteur, de la matière théâtrale (espace, temps, objets et textes) et comme lieu d’une philosophie de la scène, orientée vers un théâtre à venir. Son mode discursif spécifique est de l’ordre du montage, du discontinu et de la polyphonie. Le visiteur s’y exerce à différents régimes scopiques et intellectifs sur des formes théâtrales passées et présentes, met à l’épreuve une pensée du théâtre au contact de l’objet et à celui d’autres pensées, celles des praticiens de la scène, celle de l’expositeur. / For whom, to what end and how may theatre be exhibited? The museologic approach is meant to be both an investigating method of the theatrical field and a museum ethics, whose stakes, means and import it considers. Exhibiting theatre objects -- remnants, pieces of evidence or imprints of the stage -, arranged for display, and used as statements, questions the very nature of on-stage and theatrical events. It shows the object as becoming meaningful without confining it to its meaning. To such an end, it plays both on the similarities and tensions between being on stage and on display and it conveys, as a response, a vision of theatre as part of its own history but also as a process of creation and reception. The exhibition is a theatrical time in itself for today’s visitor and spectator: it can be thought of both as a place for the manipulation of theatrical material (space, time, objects and texts) and as one dedicated to a stage philosophy that looks into theatre as it could be in the future. Its specific discursive mode relies on montage, discontinuity and polyphony. It offers the visitor a chance to try different scopic and intellective regimes on present and past theatrical forms and to put theatre thinking to the test of the object itself and of other modes of thinking – those of stage practitioners and of the exhibitor.

Museo de la Memoria y los Derechos Humanos (MMDH) in Santiago, Chile is dedicated to the depiction of a difficult heritage. This museum of memory and human rights narrates the military dictatorship in Chile 1973–1990, a time when thousands of people were subjected to unthinkable human rights violations committed by the Government Junta of Chile. Memorial museums exist worldwide and aim to depict a specific historical event when people have been victimized by the state. By showcasing the crimes committed by the junta, MMDH seeks to contribute to the culture of human rights to prevent human rights violations from reoccurring in the future; a culture of Nunca Más (Never Again). In this thesis, the permanent exhibitions of MMDH have been studied through the lenses of representation and discourse theory. The purpose has been to understand the way in which the museum depicts the dictatorship and whether the goal of contributing to a human rights culture was visible in the material that is presented in the exhibitions. The results show that MMDH depicts a story using different themes primarily relating to the crimes committed by the Chilean state and the civilian population’s fight for human rights. In the exhibitions, several themes evoke emotions and can generate a real impact on the visitors. However, the museum presents its material without analysis or interpretation and it disclaims placing the dictatorship in a historical and political context, which can inhibit the educational purpose of the museum. In addition, since the exhibitions lack educational material on human rights and democracy, the categorization of being a museum of human rights with the goal of contributing to a culture of human rights, is insufficient. In the discourse of the exhibitions present at MMDH there is an apparent inclusion and exclusion of narratives which can be explained by the museum’s political link in a country that to this day is undergoing a process of dealing with its past. This is a two-year master’s thesis in Museum and Cultural Heritage Studies.