Submitted by Daniele Amaral (daniee_ni@hotmail.com) on 2016-09-26T19:33:49Z No. of bitstreams: 1 TeseSMO.pdf: 13131734 bytes, checksum: eefbff0faf4d283aecbbbe364f540884 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T18:39:58Z (GMT) No. of bitstreams: 1 TeseSMO.pdf: 13131734 bytes, checksum: eefbff0faf4d283aecbbbe364f540884 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T18:40:06Z (GMT) No. of bitstreams: 1 TeseSMO.pdf: 13131734 bytes, checksum: eefbff0faf4d283aecbbbe364f540884 (MD5) / Made available in DSpace on 2016-10-04T18:40:14Z (GMT). No. of bitstreams: 1 TeseSMO.pdf: 13131734 bytes, checksum: eefbff0faf4d283aecbbbe364f540884 (MD5) Previous issue date: 2015-05-05 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Zoos house many specimens of native fauna and have great potential to contribute to Environmental Education for biodiversity conservation. However, some studies have pointed that even when these institutions carry on biodiversity conservation actions, this subject may be presented in their educational activities or exhibitions. To investigate the potential of zoos in Environmental Education for biodiversity, we chose the cougar (Puma concolor) conservation as motivating topic. It was selected for the reason that this specie is important to biodiversity maintenance in São Paulo State and because there are many challenges in education for big predators conservation. The purpose of this study was to identify environmental education for the cougar conservation strategic actions that zoos could be do; to discuss the educational intent on animal’s exhibition in zoos nowadays; and to analyze the cougar grounds for their potential as facilities that educates for the conservation of this specie. Adopting Freire principles, that grounds the critical environmental education and a hermeneutic research approach, this thesis was set up as a collective instrumental qualitative study case. The research had a diagnostic stage involving five zoos from Sao Paulo northeastern, in which the research first purpose was developed, and a further analysis stage performed with three of these institutions to address the other two purposes of this study. To collect information, we mainly use zoos technical and educational teams interviews, exhibition and cougar exhibit observations; and, finely, informative stuff, websites and technical documents analyses focused on enclosures and animals. The main result of diagnostic was that any specific cougar educational activity had been performed. But, the issue was extremely important for these institutions, which reported many cougars rescues, including some that occurred with animals on display. The teams believe that activities such as campaigns between Sao Paulo State zoos could improve the development of educational stuffs and facilities that educates for this specie conservation. From second stage of the research, we highlight there are two purposes regarding to animals display: firstly it’s to provide close contact with animals and secondly it’s to educate people for nature conservation. These purposes are coherent with zoos conservation goals and environmental education actions. Although, on an educational exhibition it is necessary to set up the balance between elements that explore each one of these purposes. In this sense, the analysis of cougar exhibits shows that the enclosures and its labels doesn’t has been focused on biodiversity conservation. Mediation about this topic it has been done mainly by educators. That reveals enclosures weaknesses on role as facilities that educates, but their potential could be expanded with additional information inclusion that contextualizes the cougar in their locality. / Os zoológicos são instituições que abrigam diversos espécimes da fauna nativa e que possuem grande potencialidade de contribuírem na educação ambiental para a conservação da biodiversidade. Contudo, alguns trabalhos vêm apontando, que mesmo quando essas instituições realizam ações de conservação da biodiversidade, essa temática pode não estar presente em suas ações educativas ou em suas exposições. Para investigarmos o potencial dos zoológicos nas ações de educação ambiental para a biodiversidade, escolhemos como tema motivador a conservação da onça parda (Puma concolor). Esse tema foi escolhido em função da importância da conservação dessa espécie para a manutenção da biodiversidade no interior do estado de São Paulo e dos desafios existentes nas ações de educação para a conservação de grandes predadores. Os objetivos foram: identificar linhas de ação nas quais os zoológicos podem atuar na educação ambiental para a conservação das onças pardas; discutir a intencionalidade educadora na exposição dos animais em zoológicos na atualidade; e analisar os recintos de onças pardas avaliando seu potencial enquanto estruturas educadoras para a conservação dessa espécie. Com base em princípios freirianos que fundamentam a perspectiva crítica de educação ambiental e em uma abordagem hermenêutica de pesquisa, esse trabalho se constituiu como um estudo de caso qualitativo instrumental coletivo. A pesquisa teve uma etapa de diagnóstico junto a cinco zoológicos do nordeste paulista, com os quais foi desenvolvido o primeiro objetivo, e uma etapa de análise aprofundada, realizada junto a três dessas instituições para executar os outros dois objetivos do estudo. Para a coleta de informações utilizamos principalmente entrevistas às equipes técnicas e educativas das instituições participantes, observações das exposições e dos recintos de onça parda e análises de materiais informativos, sites e de documentos técnicos sobre os recintos e animais. Como principal resultado do diagnóstico obtivemos que nenhuma atividade educativa específica sobre a onça parda havia sido realizada, mas que o tema era extremamente relevante para as instituições, pois foram relatados atendimentos de onças pardas acidentadas, incluindo os animais que estão em exposição. As equipes consideraram que atividades como campanhas articuladas entre os zoológicos paulistas poderiam ser positivas para o desenvolvimento de material didático e estruturas educadoras para a conservação da espécie. Da segunda fase da pesquisa, destacamos como principais resultados a existência de duas intencionalidades com relação à exposição dos animais: proporcionar o contato próximo com o animal e educar as pessoas para a conservação da natureza. Essas intencionalidades são coerentes com os objetivos de conservação e educação ambiental dos zoológicos. No entanto, para que uma exposição seja educativa é importante que haja um balanço entre elementos que abordem cada uma delas. Nesse sentido a análise dos recintos de onça parda revelou que a contextualização promovida pela estrutura física dos recintos e pelas placas não possuem focos na conservação da biodiversidade. A mediação para essa temática é feita principalmente pelas educadoras e educadores. Isso revela fragilidades nos recintos enquanto estruturas educadoras, que podem ter suas potencialidades ampliadas com a inserção de elementos complementares que auxiliem na contextualização da onça parda na realidade local.

By examining the art exhibition Finsk bild (Finnish picture) that was held at Liljevalchs art gallery in Stockholm 1977-78, the aim of the essay is to investigate and highlight the discrepancy between the intention of the exhibition and how it was perceived by the critics. In the aftermath of the exhibition there were discussions about why the critics were so harsh, and also the way the critics described the art and artists in terms of the national has been questioned in recent years. The method that is being used is Mieke Bals semiotic exhibition analysis model, where the art exhibition is analyzed through the narratives that are constructed in the discourse of the practice of the exhibition. The results show that the framing of the exhibition was done according to a model of a national culture exchange, within far going traditions in the Nordic countries. Therefore, the art exhibited was received as “classic Finnish art”, but the art itself was of modern international character. The framing of the exhibition placed the art in the category of artefacts, which were starting to be an outdated way of perceiving art in the 1970´s. / Uppsatsen undersöker och synliggör konflikten mellan intentionen och mottagandet av konstutställningen Finsk bild som visades på Liljevalchs 1977–1978. Mottagandet av den här utställningen har uppmärksammats i efterhand, men någon djupare vetenskaplig analys har inte gjorts. Metoden som använts till undersökningen är en utställningsanalys enligt Mieke Bals semiotiska modell, där utställningspraktiken undersöks genom diskurser som var förhärskande på det finska och svenska konstfältet. Resultatet visar att en representationsutställning som Finsk bild, var diskursivt inramad i nationella termer av finskhet, vilket därmed ställde förväntningar på konsten som visades. Konsten som visades var dock inte ”nationell finsk konst” i klassisk mening, utan konst som till sitt uttryck följde en allmän konstutveckling i spåren av västerländsk modernitet. Traditionell politisk praktik av konstutbyte hade satt ramarna för utställningen, men konstbegreppet och konsttolkningen hade delvis ersatts av nya. Konst som bärare av det nationella, förutsätter att konstverk ses som artefakter snarare än konstverk.

This essay investigates and compares two Swedish artist homes made into museums using an applied version of Danish scholar Rune Gade’s exhibition analysis method. The homes that were chosen for the study are Tallbo, in the region of Gästrikland, the home of Swedish painter Ecke Hedberg (1868-1959) and Bror Hjorths Hus in the city of Uppsala, the home of Swedish painter and sculptor Bror Hjorth (1894-1968). The essay focuses on the permanent exhibitions of the artists private homes and ateliers, and the interior and artworks that are shown. This essay answers the questions of which objects have been chosen for the exhibitions (with a presentation of the interior and art in both homes), how the objects are organized and curated, how the objects are presented and in which public context the exhibition functions in. The latter question is answered within the frame of intermediation, musealization, cultural heritage and identity connected to Australian historian and curator Linda Young’s theories of historical homes. / I denna studie undersöks och jämförs två svenska musealiserade konstnärshem utifrån en tillämpad användning av den danske konsthistorikern Rune Gades metod för utställningsanalys. Konstnärshemmen som valts ut för studien är Tallbo i Gästrikland, hem till konstnären Ecke Hedberg (1868-1959) och Bror Hjorths Hus i Uppsala, hem till konstnären och skulptören Bror Hjorth (1894-1968). Fokus ligger på interiören och konstverken i de permanenta utställningarna. Studien svarar på frågor som rör vilka objekt som valts ut för utställningarna, hur föremålen är organiserade, hur föremålen är presenterade och i vilken offentlig kontext som utställningarna fungerar. Detta besvaras utifrån perspektiv som förmedling, musealisering, kulturarv och identitet kopplat till den australiensiska historikern och curatorn Linda Youngs teorier om historiska hem.

Museums as colonial institutions and agents in nation building have constructed, circulated and reinforced colonialist, patriarchal, heteronormative and cisnormative national narratives. Yet, these institutions can be subverted, resisted and transformed into sites of critical public pedagogy especially when they invite Indigenous artists and curators to intervene critically. They are thus becoming important spaces for Indigenous counter-narratives, self-representation and resistance—and for settler education. My study inquired into Cree artist Kent Monkman’s commissioned touring exhibition Shame and Prejudice: A Story of Resilience which offers a critical response to Canada’s celebration of its sesquicentennial. Narrated by Monkman’s alter ego, Miss Chief Eagle Testickle, the exhibition tells the story of the past 150 years from an Indigenous perspective. Seeking to work on unsettling my “settler within” (Regan, 2010, p. 13) and contribute to understandings of the education needed for transforming Indigenous-settler relations, I visited and studied the exhibition at the Glenbow Museum in Calgary, Alberta and the Confederation Centre Art Gallery in Charlottetown, Prince Edward Island. My study brings together exhibition analysis, to examine how the exhibition’s elements work together to produce meaning and experience, with autoethnography as a means to distance myself from the stance of expert analyst and allow for settler reflexivity and vulnerability. I developed a three-lens framework (narrative, representational and relational/embodied) for exhibition analysis which itself became unsettled. What I experienced is an exhibition that has at its core a holism that brings together head, heart, body and spirit pulled together by the thread of the exhibition’s powerful storytelling. I therefore contend that Monkman and Miss Chief create a decolonizing, truth-telling space which not only invites a questioning of hegemonic narratives but also operates as a potentially unsettling site of experiential learning. As my self-discovery approach illustrates, exhibitions such as Monkman’s can profoundly disrupt the Euro-Western epistemological space of the museum with more holistic, relational, storied public pedagogies. For me, this led to deeply unsettling experiences and new ways of knowing and learning. As for if, to what extent, or how the exhibition will unsettle other visitors, I can only speak of its pedagogical possibilities. My own learning as a settler and adult educator suggests that when museums invite Indigenous intervention, they create important possibilities for unsettling settler histories, identities, relationships, epistemologies and pedagogies. This can inform public pedagogy and adult education discourses in ways that encourage interrogating, unsettling and reorienting Eurocentric theories, methodologies and practices, even those we characterize as critical and transformative. Using the lens of my own unsettling, and engaging in a close reading of Monkman’s exhibition, I expand my understandings of pedagogy and thus my capacities to contribute to understandings of public pedagogical mechanisms, specifically in relation to unsettling exhibition pedagogies and as part of a growing conversation between critical adult education and museum studies. / Graduate