<p> From approximately 1850 to the beginning of World War II, archaeological collaboration between the United States and France was at its peak in terms of the study of human prehistory. This span of time will be referred to as a &ldquo;golden age&rdquo; of exchange, which resulted in thousands of objects being sent from France to be housed in museums and institutions of higher education in the United States. Within these collections, the presence of replicas, casts, and even objects questionably catalogued by the museum as &ldquo;frauds&rdquo; highlight the underlying value of the broader collecting ideologies. Through a statistical analysis of the French prehistoric collections at the National Museum of Natural History that includes replicas, casts, and &ldquo;frauds&rdquo; as well as case studies into specific objects, I hope to explore the patterns of motivations and range of perspectives of the various actors within the process of creating, collecting, and distributing these objects. More in-depth, biographical case studies will also allow for a glimpse into the complex and often ambiguous social lives of certain objects within these collections (Kopytoff 1986). Overall, the presence of replicas, casts, and &ldquo;frauds&rdquo; becomes a lens into which commodity, agency, and value of the prehistoric French collections can be examined and analyzed. </p>

This thesis examines the use of social media by museums aiming to establish collaborative relationships with the public. Social media platforms have been widely espoused as transformative in allowing diverse, new or previously excluded audiences to enter into egalitarian, participatory relationships with museums. This thesis deconstructs the concepts of participation and collaboration and identifies the various factors that constrain the extent to which social media enables participatory relationships between previously unequal actors. These factors include the historical disciplinary aims and cultural authority of museums, persistent social inequalities, and the motivations of social media followers. It elucidates crucial questions such as, are various publics enabled to participate on an equal level with each other and with museums? Who benefits from collaborative projects in general and which parties benefit from the use of social media in particular? What are the factors that limit the establishment of collaborative practice? And, conversely, what are the factors that define truly collaborative practice? This research examines museums' use of and discourses surrounding social media as well as social media followers' motivations for engaging with museums online. A large body of quantitative and qualitative data gained through in-depth web-based surveys is analysed, primarily using critical discourse analysis, and informed by other critical orientations including media archaeology and the sociology of expertise. The analysis indicates that museums consider social media to be a transformative, democratising technology. However, museums' acceptance of technologically determinist arguments significantly inhibits positive societal change and the extent to which collaborative relationships can be established with various publics. This research contributes significantly to the existing archaeological and museum studies literature by providing a theoretically and empirically informed critical analysis of the prevailing positive discourses surrounding social media and participation. It has important practical implications for museums in arguing that targeted, critically informed and ethically aware projects are necessary to achieve situations resembling 'collaboration'. It provides a significant body of data that will inform the formulation and continuation of collaborative projects in museums. Furthermore, it informs broader archaeological debates on involving various publics in archaeological practice. This thesis also demonstrates the importance and effectiveness of critical discourse analysis and related critical approaches for analysing large bodies of qualitative data.