This detailed report of an internship in the Department of Education at The National D-Day Museum includes a profiling of the Museum, description of the internship, an analysis of the Museum's management challenges, recommendation for the resolution of the problems, and a discussion of both the short and long range effects of the internship on the organization.

From May through August of 2000, I served for the New Orleans Museum of Art in New Orleans, Louisiana, as an intern. The institution provides a variety of museum experiences for both locals and tourists, and counted as one of the South's premier art museums. The Museum, however, has numerous issues and challenges. Although the institution is continuously expanding, the next decade will be a test for the Museum's staff members regarding management, programming, and competition. The following report provides overview of the Museum's mission, history, collections, as well as its organizational structure. I explain my internship in terms of tasks assigned, justifying my contribution to the institution.

The internship program at the New Orleans Museum of Art provides graduate and undergraduate students from universities and colleges with on-site training in various museum responsibilities under the guidance and training of a senior level staff member. Internships are available in the administration, curatorial, development or educational departments of the Museum. I chose the public relations department for my internship because public relations is an art organization's essential contact with its public through communications that are not entirely based on publicity, and as such I wanted to learn more about the operation of the department. Because public relations work requires some skill and confidence in writing (Rudman 9), I believed that I was qualified to assist in writing assignments with an undergraduate degree in English.

This report gives a history of the Louisiana Children's Museum, New Orleans, Louisiana. It discusses the Museum's mission, management structure, funding, programs and goals. The internship itself describes the projects in which the intern was involved and the planning that went into these projects. The major project of the internship was a workshop for teachers to instruct them on how to incorporate arts in the classroom, thus the name "Fine Arts in the Classroom." Other projects involved implementation of activities for new areas and updating current exhibits.

This internship report describes the student's experiences while working for Louisiana state Museum in New Orleans, one of the largest and oldest historical complexes in the United states. Its mission is to collect, preserve and present the materials which document Louisiana's cultural identity. Included in the Museum holdings are eight historic Vieux Carre properties, four of which function as museums, and an extensive permanent collection (over three million pieces) of fine, decorative, folk and textile arts; military and inventive artifacts; manuscripts; prints; maps; and photographs illustrating the culture and history of Louisiana.

Les marques muséales françaises s'exportent dans le monde par, notamment, la création de musées portant leurs noms. C'est le cas du Centre Pompidou à Málaga en Espagne. Cette recherche doctorale propose une réflexion sur, d’une part, la cause de cette mondialisation des marques de musées publics français et, d’autre part, à partir de l’étude du processus de création du Centre Pompidou Málaga, sur comment la diplomatie d’influence peut se révéler déterminante dans cette internationalisation. / Le résumé en anglais n'a pas été communiqué par l'auteur.

Master of Arts in Heritage - Heritage Studies / The diamond company De Beers is in the process of re-designing the Kimberley Mine Museum – a site marking the very beginnings of South Africa’s industrial history. The development of the new attraction will be subject to various forces and considerations which will impact on how the museum will reflect the history of the city, of its people, and of De Beers itself. These forces include the traditional educational function of a museum, the historical functions of displaying social history, possible new political expectations of a more inclusive social history being displayed, the corporate ownership of this attraction, and commercial pressures. The main aim of the research will be to investigate ways in which an inclusive social history is accommodated in the planning process for the new museum.

Between 1768 and 1780 Captain James Cook led three epic voyages from Britain into the Pacific Ocean, where he and his fellow explorers- artists, naturalists, philosophers and sailors, were to encounter societies and cultures of extraordinary diversity. These 18th Century South Pacific encounters were rich with performance, trade and exchange; but they would lead to the dramatic and violent transformation of the region through colonisation, settlement, exploitation and disease. Since those initial encounters, museums in Britain have become home to the images and artefacts produced and collected in the South Pacific; and they are now primary sites for the representation of the original voyages and their legacies. This representation most often takes the form of exhibitions and displays that in turn choreograph and produce new encounters with the past, in the present. Drawing on Alfred Gell's term 'technologies of enchantment' my practice reconceives the structures of exhibitions as 'technologies of encounter': exploring how they might be reconfigured to produce new kinds of encounter. Through reflexive practice I critically engage with museums as sites of encounters, whilst re-imagining the exhibition as a creative form. The research submission takes the form of an exhibition: an archive of materials from the practice, interwoven with a reflective dialogue in text. The thesis progresses through a series of exhibition encounters, each of which explores a different approach to technologies of encounter, from surrealist collage (Cannibal Dog Museum) and critical reflexivity (The Hidden Hand), to a conversational mode (Modernity's Candle and the Ways of the Pathless Deep).

This multi-case study creates a better understanding of the relationship between four museum educators' personal theories of teaching and their practice in university museums. The question that frames this study is, "How, in a university museum setting, do museum educators' personal theories of teaching relate to their educational practices?" The aim was to produce an account of museum educators' personal theories and practices in university museums and interrogate what factors may influence the relationship between the two. While there is some literature about the personal theories and practices of museum educators, no studies have been found that examine museum educators working in university museums in the United Kingdom. This study addresses this gap by exploring four museum educators' personal theories and practices in three museum educational programmes in two university museums in a university city. This study is positioned within a qualitative tradition. Data for this study was collected using semi-structured interviews and observations. In total four pre-interviews, 24 observations and 24 post-interviews were conducted with four museum educators in two university museums in a UK city. Thematic analysis was the approach taken for the analysis of each case study. Findings in relation to the museum educators' personal theories suggest that there were important similarities in the museum educators' personal theories. All the museum educators' personal theories consisted of elements relative to knowledge, learning and learners, and the facilitation of a positive learning environment. The museum educators' personal theories of teaching relative to the nature of knowledge, learning and learners, varied per the discipline of the museum they taught in. It was found that personal theories were influenced by the museum educators' shared background as former school teachers and, for some, their accumulated experience teaching in university museum settings. Thus, they tend to foster educational settings with characteristics typical of formal learning environments. The key finding in relation to the research question of this study, is that in a university museum setting, the personal theories of teaching of the museum educators were often aligned with their practices; in some cases, they were not. Whether the museum educators could align their practices with their personal theories of teaching appeared to depend on the sociocultural context they worked in. Despite, as previously noted, similarities in the four personal theories of teaching (i.e. relative to knowledge, learning and learners and the facilitation of a positive learning environment), there were differences in how these were translated into practice by each museum educator. This research contributes to the field of museum education by: i) enhancing our understanding of museum educators' personal theories of teaching and practice in university museums; ii) providing fresh insights into the relationship between the personal theories of teaching and practice of museum educators working in university museums and; iii) adding to our understanding of the breadth of learning environments in museum education. The findings of this study are significant because they enrich the empirical knowledge and understanding of museum educator teaching in university museums. This study provides insights that may benefit the training and professional development of museum educators in university museums.

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