The aim of this bachelor’s thesis is to analyze if there are differences in the way of explainingthe causes of The Great Emigration from Sweden to America in the late 1800s/beginningof the 1900s. Due to the researcher’s education the thesis has a didactic, and comparativeperspective between how history textbooks aimed for Middle School and High School andhow the exhibition Drömmen om Amerika (= The Dream of America), in Vaxjo, Sweden,explains this phenomena. A special analysis scheme is applied to the sources in a way to makeit clear to the reader how informative they are and how much effort they put in the explaining. The outcome of the analysis shows that the exhibition gives the visitor a wider, deeper,and more informative depiction of The Great Emigration, compared to the textbooks’ moresummarized extracts. However, many teachers and pupils consider it difficult to applymuseums’ productions into the every-day-history-education in the classroom. In order tofollow the policy documents made for the school, teachers often use the adapted-for-school-curriculum-textbooks as a central part of the education, instead of museums. Comparing thetextbooks against each other, the analysis shows that the Middle-School-textbooks give morecauses to The Great Emigration but the High-School-textbooks explain the causes in a muchmore informative way.

The sculpture exhibition examines the notion of the cyborg as an autonomous female existing in a non-utopian future still bound by historical, social, and economic conditions of patriarchy.

The sculpture exhibition examines the notion of the cyborg as an autonomous female existing in a non-utopian future still bound by historical, social, and economic conditions of patriarchy.

The main purpose of this thesis is to analyze the influence of internal/external locus of control¡Bself-tendency achievement motivation¡Bsocial-tendency achievement motivation three personal characteristics and the willingness¡Bskill and application of interpersonal networks toward to the entrepreneurship willingness, especially focused on the labor who works in the exhibition industry. Samples collected amount to 103 showing 54 companies, 46 coming from Taipei metropolis¡B4 coming from Taichung¡B2 from Gauxion, and the remaining 2 come from other regions . By empirical analysis, we found that some personal backgrounds such as gender¡Bmarriage and academic background have a great influence on entrepreneurship willingness; On the contrary, personal characteristics and interpersonal networks have low relationship with entrepreneurship willingness, except to internal locus of control having a negative influence on entrepreneurship willingness. Thus, we suggest those following researchers to keep on studying the factors that may affect entrepreneurship willingness. Besides, since the interpersonal networks phases were first created, they still need the hard-working research to make them better and perfect.

The mission of university libraries have been taking to support or reinforce academic researches and teaching, however the newly established exhibition space for the arts exhibitions are one of the services which is increased recently. For the needs of adapting to the external environment, the visual exhibitions have been transformed into the digital ones. The purpose of the study is to examine the role and function of the exhibitions held in the national university libraries in Taiwan. The research centers on the various conditions in the environments of the arts exhibitions that held in the national university libraries in recent. This study contains three major parts: the first part discusses the experiences from museums of holding exhibitions and the theoretical frame about the ¡§university library exhibitions¡¨. The second part is the comparison of the different organizations which hold exhibitions, such as museums, public libraries, and arts centers, in addition to the integration of three exhibition models by university libraries. The third part analyzes the common elements of library exhibitions and the types of exhibitions by applying the management SWOT approach. The findings of this study indicate that the ¡§university library exhibitions¡¨ possess the same functional roles as the traditional museums in the aspects of education, culture, researches and entertainment. Different types of exhibitions reveal these functions by different standards. The study also discovered that the superiority of the ¡§university library exhibitions,¡¨ was mostly in the aspects of education, culture, and researches. As far as the aspect of entertainment, though been admitted as one function, is not particularly addressed. In the future, some efforts might be added to university library exhibitions, such as the playing of a public role, the development of the audience and readers, also the tendency of being a cultural industry. The study concludes with the following suggestions: preparing proper library exhibition policies, expanding the function of ¡§exhibition¡¨ to the level of performance, promoting the inter-library exhibitions and exhibition loans, transforming the charge-free exhibitions into a cultural business, re-utilizing the space in libraries, considering the benefit of the corporation among different departments in the campus, extending the sensation of aesthetics into communities and developing the library audience based the idea of life-long continuing education.

As spotlighted urban occurrences of significant global influence, mega-events such as the Olympics and the Expos usually create a great demand for mega-event flagships (MEFs). These purpose-built cultural, civic or sports landmarks not only serve as prominent event venues but often play a catalytic role in long-conceived renewal initiatives on a much broader scale. Lacking no successful event stories, it is not unusual to hear prominent post-event failures in MEFs. Despite its lasting appeal, such a highly controversial and challenging development has received surprisingly little in-depth analysis in existing literature. Academic interests have long concentrated on assessing impacts rather than profiling risks. Moreover, to realize such a dually oriented initiative clearly needs a competitive organization. Yet, this driving force behind becomes another understatement. Apart from tangential studies on western-based practices, pinpoint research is rare in emerging economies towards which MEFs are shifting their grounds. Such a triple imbalance may likely keep ambitious yet inexperienced hosts ignorant of tremendous risks behind overstated rewards. To argue that MEFs should be pre-post oriented than treated simply as a legacy issue, this study presents four landmark cases of Expo 2010 Shanghai China – a mega-event as not only a crowning touch to China’s thirty-year economic rise but a catalyst for Shanghai’s renaissance towards a global center. As the centerpieces of this mega-undertaking, the Big Four (the Big4) represent the largest MEF cluster in history and the latest epitome of major projects of national significance. To explore how the Organizer has forged the sixty-year vision beyond the six-month extravaganza, participant observation is adopted due to the author’s special role as a key project coordinator of Expo 2010 during the early stages of the Big4. In gaining more useful insights for future practices, this multiple-case study takes the following three steps. First, rationales and practices of MEF development are analyzed through a historical review of eight selected cases of mega-event built legacies in five countries over 150 years. Next, programming practices of MEFs and non-MEFs in China are investigated through a pilot questionnaire survey in 2009. Finally, the 600,000-sq.m Big4 are explored respectively and collectively against the ongoing Trilogy of the Huangpu Riverfronts Renewal. Multifold findings from previous and present cases confirm the hypothesis that MEF development is rather an issue of dualism than dichotomy. To meet existing and emerging challenges, a framework plan is developed containing four approaches and ten steps key to the vitality of MEFs. Conclusions are made from both local and global dimensions. Four major breakthroughs, two pressing problems and two emerging trends are identified for major project developments in China; whereas six essential conditions to sustain MEF development are generalized for significantly comparable cases worldwide. A timely reminder of rethinking the commitment to MEFs and a much-needed complement to related western literature, this pioneering research would be of cross-boundary value and spark interdisciplinary interest. / published_or_final_version / Real Estate and Construction / Doctoral / Doctor of Philosophy

No description available.

In the way of museums, certain things have been collected and assembled for a display, a truth, in the form of a private room in which resides the dream world of the curator. Then, as the visual expression of this inner space deepens, they are carefully taken apart, always with respect for the original. Yet the work is not shaped by the hand of a conservator destined to abandon the imagination in favour of a trail of physical evidence. Nor does it reflect the conventional rationalist sensibilities of a museum worker who, by suppressing a poetic understanding of the world is confined by "cold language" (Frame 1992 p.45) and remains caught inextricably in the web of colonial thinking.Here the imagination is truth (Einzig 1996) and an understanding of the nature of this inner space the key to the locked door. The Anthropologist and the Archaeologist, indeed a whole host of disciplinary specialists may come knocking, but it is the artist that gains access to the curatorial spirit. Compelled as much by a love of the museum profession as a crisis of European consciousness (Spivak in Harasym 1990), objects are assembled for an inner journey to a place where shadow and sunlight chase each other across the landscape (McQueen 2000). This is the dialectic space of both curator and artist, of the rational and the irrational, of inside and outside, and of disciplinary devotion and betrayal.

Thesis (Master)--İzmir Institute of Technology, İzmir, 2004. / Includes bibliographical references (leaves. 87-89).

A educação em ciências é uma prática social que vem sendo cada vez mais ampliada e desenvolvida e, nesse aspecto, os museus ganham destaque como locais de divulgação e de educação não formal. Neste sentido, é evidente a atual e gradual mudança que a natureza e o papel educacional dos museus vêm sofrendo, o que leva a questionar os pressupostos teóricos e práticos que fundamentaram e fundamentam as ações em educação não formal nesses locais. Assim, tendo em vista a fundamentação do trabalho de divulgação que o Laboratório de Malacologia do Instituto de Biociências da USP inicia, pretendia-se verificar como os moluscos são abordados nas exposições de dois museus universitários de ciências, discutindo algumas abordagens científicas, comunicacionais e museológicas que norteiam a práxis expositiva desses locais. Para tanto, optou-se por uma abordagem metodológica qualitativa por meio de dois instrumentos de pesquisa: observação com registros escritos e fotográficos e análise documental. A análise das abordagens científicas indicou que as duas instituições apresentam temáticas expositivas condizentes com os objetivos a que se propõem, ou seja, divulgar a pesquisa que ali é feita e, no caso do Museu de Zoologia, discutir também as idéias dominantes na Zoologia. Os textos, por sua vez, aparecem predominantemente na forma de impressos, cada instituição apresentando padrões de diagramação diferentes e conseqüentemente levantando questões diferentes. Com relação ao discurso empregado, fica evidente que o texto apresentado é um híbrido de diversas categorias de discurso. Por fim, as exposições revelaram corresponder preponderantemente ao tipo Educativas descrito por DEAN (2003), fazendo amplo uso de objetos reais embora estes estivessem sempre distantes do visitante e com função geralmente de ilustração. Quanto aos níveis de interatividade descritos por WAGENSBERG (2000), chama atenção o fato de nenhum dos museus trabalharem os três níveis, e a interatividade mental, única trabalhada pelos dois museus, sendo timidamente explorada. / Science Education is a growing and developing social practice and, in this respect, museums have gained prominence as places for doing public communication of science and non-formal education. In this sense, the nature and educational role of museums are clearly suffering gradual changes, what leads to questions about the theoretical and practical pre-assumptions that formed and still form the basis for actions in non-formal education occurring in these places. Thus, having in mind the fundamentals of the science communication work that the Malacology Lab (Institute of Biosciences-USP) has begun, the intention was to verify how mollusks are approached in the exhibitions of two universitary science museums, discussing some of the scientific, communicative and museological approaches that guide the expositive praxis of these places. For doing so, a qualitative methodological approach by means of two research instruments was chosen: observation, producing written and photographic records, and documental analysis. The analyses of scientific approaches indicated that both institutions have expositive subjects that meet their objectives of divulging the research they do and, in the case of the Zoology Museum, of discussing the dominant ideas in Zoology. The texts, in turn, appear predominantly as printouts, with each institution presenting different diagramming patterns and, consequently, bringing up different questions. As for the discourse used, it is clear that the text presented is a hybrid of several discourse categories. Finally, the exhibitions showed to be predominantly of the Educative type as described by Dean (2003), making wide use of real objects even though these were always far from the visitors and used for illustrative purposes. As for the levels of interactivity described by Wagensberg (2000), what calls the attention is the fact that none of the museums works all three existing levels and the only one worked by both museums, mental interactivity, is timidly explored.