<p> This thesis examines and exposes the active student life of 1947 Newcomb College graduate Coralie Guarino Davis. Through the analysis of her diaries, I examine both the academic and social structure of Newcomb as a coordinate college and its effect on students in the 1940s as well as social and cultural events such as World War II and Carnival. Davis graduated with a Bachelor of Fine Arts degree that enabled her to work professionally in the art field and briefly as a Carnival designer. During her college education, Davis also experienced World War II. Davis and other students aided in the war effort through fundraising, experienced war rations, and anticipated the Allies victory. She also participated in Carnival as a queen of her krewe, the Elenians, in 1947. The exhibit is derived from her diary writings and presents an example of the typical Newcomb student experience during the 1940s in regards to education, the war, and New Orleans social events. Both my research and exhibit work to bridge the gap on Newcomb College history during World War II and enhance the scholarship on women in higher education and in New Orleans during the decade.</p>

<p>Lincoln County, Arkansas, is a small county in the southeastern sector of Arkansas that lacks a museum dedicated to its history. With Lincoln County lacking the funds to purchase/build a physical space that is on-par with current museum standards, a museum building is an impossibility at this point. Yet, the older generations that are full of knowledge about the history of the county are fading away. To preserve past and future history, a new spin on a museum had to be accomplished. The spin was creating a digital museum. This study goes in-depth on the creation of a digital database and museum for Lincoln County using Omeka.net and WordPress.com according to Dublin Core and museum standards. The websites showcase a broad and general history of Lincoln County that will hopefully become a foundation for the creation of a physical museum.

<p> Research on Judy Chicago&rsquo;s <i>The Dinner Party,</i> (1974-79; completed with the assistance of more than 400 volunteers), is abundant and generally focuses on the monumental table of thirty-nine place settings acknowledging the contribution of women throughout Western history. Scholars have examined, praised and criticized the installation from various feminist and formal aesthetic perspectives. By contrast, this thesis considers what has essentially been overlooked until now, Judy Chicago&rsquo;s curatorial framework for the entire <i>The Dinner Party</i> exhibition experience. Using my own interviews with the artist, team members, and contemporary curators, as well as consulting the artist&rsquo;s installation manuals from Harvard University Archives, and examining the reception of the curation, I highlight the essential curatorial features that made <i>The Dinner Party</i> such an international phenomenon. The artist&rsquo;s curatorial elements were research-oriented, inclusive and activist-leaning with interactive, multi-media structures to achieve her feminist message. Considering <i>The Dinner Party</i>&rsquo;s current installation at the Elizabeth A. Sackler Center for Feminist Art, my thesis argues that Chicago&rsquo;s successful yet overlooked methods offer the most proactive, critical and approachable curatorial presentation. The current installation that has been stripped of these curatorial elements, while perhaps institutionally practical, compromises much of the message and feminist intent. This study contributes to the field by focusing on this notable exhibition, providing discourse into Chicago&rsquo;s curating and offering considerations for contemporary curating practice, with the goal of contributing to the growing area of curatorial research focused on feminist artists and curatorial projects.</p>

<p> This study is an overview of how museums utilize informal learning as a primary source of engagement to improve overall visitor experience while building community interest. For this study, it was important to look at the history and purpose of museums origin and the evolution of their function from an art institution to an educational institution. The top 3 Los Angeles based museums; the Los Angeles County Museum of Art, the J. Paul Getty and the Museum of Contemporary Art were all put under the various scopes to deduce if they are utilizing their education department to be the best of their ability to create meaningful experiences for their visitors. They were evaluated based on their use of technology, use of dialogue and the overall experience within the museum. Lastly, this study stresses the importance of public art to incorporate all three areas of informal learning.</p>

<p> Stereotypes of Indigenous peoples, formed according to Western notions of cultural hierarchy, as savage, exotic, and only existing in a distant past, are still prevalent in the popular imaginary. These stem from misunderstandings and misrepresentations of Indigenous peoples that developed after contact between Indigenous peoples and European settler communities, and exist in concepts such as the noble savage, the wild heathen, or the vanishing Indian. In this thesis I argue that contemporary artist Gregg Deal (Pyramid Lake Paiute) successfully challenges and disrupts such stereotypes by re-channeling their power and reappropriating them through his strategic use of humor and irony in performances, paintings, and murals. Through these tools, Deal is able to attract audiences, disarm them, and destabilize their assumptions about Indigenous peoples. I frame Deal&rsquo;s use of humor and irony outside the trickster paradigm, drawing instead on Don Kelly&rsquo;s (Ojibway) theorization of humor as a communicative tool for making difficult topics accessible, and Linda Hutcheon&rsquo;s theorization of irony as a discursive strategy for simultaneously presenting and subverting something that is familiar. </p><p> In a second line of argument, I foreground Deal&rsquo;s agency as an artist through analysis of his strategies to reach audiences and gain visibility for his art. Contemporary Indigenous artists are often excluded from mainstream art institutions, and can struggle to find venues to exhibit their work. I argue that Deal&rsquo;s strategic use of public space and the internet to show and publicize his art is significant. It has helped him to reach audiences and gain recognition for his work. He now exhibits and performs in university and state museums. I argue that the authority of museum space, in turn, gives him a greater opportunity to disrupt stereotypes and educate people about misperceptions of Indigenous peoples.</p><p>

<p> An Egyptian archaeological textile, accessioned in the American Museum of Natural History (AMNH) (Cat.No. 95/2444), from the Tomb of Hatnofer and Ramose, Eighteenth Dynasty (1550-1295 B.C.), Western Thebes was studied, with two textiles (Cat.Nos. 95/2443 and 95/2445) from the same tomb used as comparanda. The textile&rsquo;s finely spun fibers, plain-weave balanced structure with selvedge fringes and lower edge fringes, and with various weavers&rsquo; marks, stains, and losses, provide invaluable historical data about finely woven, royal linens of Eighteenth Dynasty Egypt. </p><p> Scientific analysis used for this study include: visual annotations, polarized light microscopy (PLM), scanning electron microscopy (SEM) including fiber diameter measurements, and carbon-14 dating. Closely examining a textile and its fibers can provide information about the condition of the textile, linen quality, weaving techniques, and the life of the textile itself. While the linen fibers in the Study Textile (Cat.No. 95/2444) and the Comparanda Textile #1 (Cat.No.95/2443) have been identified, it is still uncertain whether or not the fibers in the Comparanda Textile #2 (Cat.No.95/2445) are of a different quality linen or of a different plant material which is very similar to linen within the bast fiber family. Further studies would be required to answer this and several other questions that remain.</p><p>

Os museus de história natural são instituições multifacetadas. Constituem-se como espaços privilegiados para discussão da teoria evolutiva, uma vez são instituições de pesquisa científica, repositórios de material comparativo e meios de comunicação, especialmente por meio de suas exposições. Neste trabalho, o animal é entendido como interface entre duas áreas: museologia e zoologia. Discute-se, então a musealização da zoologia, ou seja, os processos que tornam um animal objeto de museu (musealia) e o seu uso em narrativas evolutivas de exposições de museus de história natural. Para tanto, foram analisadas exposições de três museus de história natural latino-americanos: \"Las Aves\" - Museo de Ciencias Naturales Bernardino Rivadavia; \"Tiempo y materia. Laberintos de la evolución\" - Museo de La Plata; e \"Conchas, corais e borboletas\" - Museu Nacional do Rio de Janeiro. A heterogeneidade de acervos e recursos expográficos exigiu o desenvolvimento de uma metodologia objetiva e replicável para descrição das exposições, estruturada em: (i) fichas; (ii) matrizes conceituais; e (iii) planta baixa. A partir do detalhamento das exposições realizou-se a análise comparativa, considerando três aspectos: presença de conceitos evolutivas nas narrativas; (ii) abordagem da teoria evolutiva; e (iii) concepção de museologia. Tais análises demonstraram que \"Las Aves\" e \"Conchas, corais e borboletas\" são exposições mais semelhantes, tanto nos conceitos evolutivos presentes na narrativa, como na abordagem sistemática da teoria evolutiva na exposição. \"Tiempo y materia\" mostrou-se como uma exposição diferenciada, pois sua narrativa foi construída a partir do conceito de evolução e não de grupos zoológicos, acumulando o maior número de conceitos evolutivos presentes na narrativa e uma abordagem voltada aos mecanismos evolutivos. Contudo, quanto à concepção de museologia, nas três exposições há o distanciamento entre o visitante e o conteúdo proposto, sendo que a teoria evolutiva é apresentada como fato corroborado pelo acervo, textos e outros recursos expográficos. Quanto a comunicação da teoria evolutiva e o papel comunicacional dos animais em exposições, observou-se que a construção teórica das narrativas está restrita aos textos e que os animais emprestam suas estruturas para ilustração e demonstração de conceitos evolutivos apresentados textualmente, servindo como \"comprovação\" da realidade e materialidade da teoria. / Natural history museums are multifaceted institutions. They constituted a privilege venue for discussion of the Theory of Evolution, as they are institucions of scientific research, and also a commucation medium especially due to its exhibitions. For this study, animals are understood as an interface between two fields: museology and zoology. Submitted for discussion is the musealisation of zoology, that is, the processes that make animals a museum object (musealia) and its use on evolutionary narratives on natural historical museums exhibitions. For this purpose, exhibition in three Latin American natural history museums were analyzed: \"Las Aves\" - Museo de Ciencias Naturales Bernardino Rivadavia (Buenos Aires, Argentina); \"Tiempo y materia. Laberintos de la evolución\" - Museo de La Plata (La Plata, Argentina); e \"Conchas, corais e borboletas\" - Museu Nacional do Rio de Janeiro (Rio de Janeiro, Brazil). Heterogeneous collections and exhibitions resources demanded the development of an objective and replicable methodology for describing those exhibits, structured in (i) data sheets; (ii) conceptual matrixes; and (iii) ground plan of the facilities. Detailed description of the exhibitions led to a comparative analysis around three items: (a) the presence of evolutionary concepts in their narratives; (b) their approaches on evolutionay theory; and (c) their museological conceotualisation. Analyses demonstrated that \"Las Aves\" and \"Conchas, corais e borboletas\" were more similar to each other, both in the evolutionary concepsts presents and in their systematics-oriented approach on evolutionary theory. On the other hand, \"Tiempo y material\" had its own narrative built on the notion of evolution itself and not on animal taxonomic work. As for their museological conceptualization, in all three exhibitions there is a gap between the visitor and the proposed content, and evolutionary theory is presented as a corroborated fact by the objects, texts and others exhibitions resources. Upon reflecting on the one communication of the evolutionary theory and the communication role of animals in exhibition, one can notice the the theoretical construction of narratives is restrict to the associated texts, and the animal themselves lend their own structures for the illustration and demonstration of textually presented evolutionay concepts, serving as \"proof\" of the reality and materiality.

Na Arroio dos Ratos da primeira metade do século XX, a comunidade carbonífera viu surgir e desaparecer uma importante indústria mineradora, tanto para o Rio Grande do Sul quanto para o Brasil. Com o fim da atividade extratora, a vila operária construída pelas companhias mineradoras foi desmantelada, restando apenas ruínas, memórias e os sentimentos de perda e orgulho pelo árduo ofício. Assim, a criação do Museu do Carvão nos remanescentes da antiga usina termoelétrica e poço de carvão foi percebida como uma oportunidade de reconstrução para esta comunidade, agindo igualmente como sustentação de uma \"identidade mineira\" pulsante. Mas não foi oportunidade apenas para ela, também para companhia mineradora e para o próprio Estado. Neste contexto os espaços de memória são utilizados como aparatos fundamentais para a divulgação de determinadas mensagens, entre elas representações da memória e de identidades. Partindo disso, esta pesquisa apresenta um estudo acerca das narrativas museológicas presentes no Museu Estadual do Carvão por intermédio de análise crítica do discurso expositivo veiculado pela instituição em dois momentos distintos, quando da reabertura do museu em 1994 e 20 anos depois, em 2014, com o objetivo de identificar, avaliar e compreender as relações entre identidade, memória e as instituições museais. / At the city of Arroio dos Ratos on the first half of the 20th century, the coal-mining community saw the rise and fall of the important mining industry of both for Rio Grande do Sul and Brazil. With the end of the extractive activity, the model village built by the companies was dismantled, leaving only ruins, memories and the feelings of loss and pride for all the hard work. The creation of the Museu do Carvão in the remnants of the older thermoelectric plant and coal pit was understood as an opportunity of reconstruction for this community, also acting as a support for a pulsating \"mining identity\". But it wasn\'t just an opportunity for it, also for the mining company and the goverment itself. In this context, these spaces are used as key device for the dissemination of certain messages, including representations of memory and identities. In light of this, the present study investigate museological narratives focused in two distinct moments of the Museu do Carvão: when the museum reopened in 1994 and 20 years later in 2014. We analyse these two ehxibitions discourse in order to identify, evaluate and understand the relationships among identity, cultural memory and museums.

O estudo desenvolvido enfoca o Museu de História Natural do Colégio Anchieta (Porto Alegre, RS), constituído pelo padre jesuíta Pio Buck, no ano de 1908. A investigação objetiva construir a história do Museu, dando ênfase à atuação dos professores e pesquisadores jesuítas, o padre Pio Buck e o padre Balduíno Rambo, cujas práticas científicas foram fundamentais para a criação e existência deste Museu. A sua fundação ocorreu dentro do cenário de criação dos primeiros museus brasileiros, em que se pode inserir os museus de História Natural, e de criação de museus de Educação em todo o mundo, em que se pode inserir os museus escolares. As coleções formadas por objetos produzidos pela indústria e por elementos coletados na natureza formavam as coleções de História Natural do museu escolar. Esses materiais funcionavam como modelos para a compreensão e representação da natureza e da realidade, no âmbito do Método Intuitivo e Lições de Coisas. O museu escolar se configurava como um novo espaço nas escolas, em especial para o ensino de Ciências e História Natural, vinculados ao contexto científico da época. Nos colégios jesuítas, havia a tradição de estudos na área de Ciências Naturais. O Museu de História Natural do Colégio Anchieta, assim, voltava-se para o ensino de História Natural e para a pesquisa, associando a tradição científica dos jesuítas com a modernidade pedagógica do ensino no novo contexto de uma sociedade científica. A abordagem deste estudo envolve a Educação e a Museologia, estabelecendo um encontro entre a história da educação e a história dos museus, estabelecendo relações entre os museus escolares e os Museus de História Natural. O estudo tece relações do Museu voltado para as práticas do ensino, no âmbito de um museu escolar, e para as práticas da pesquisa científica, no âmbito de um museu de História Natural. A investigação verifica que o Museu reunia acervo didático e científico, com caráter voltado para o ensino e para a Ciência. A pesquisa identifica o Museu como um espaço de produção científica dos jesuítas. O estudo constrói a história do Museu através de suas práticas a partir das atuações de seus agentes como professores, pesquisadores e cientistas. Adota os pressupostos teóricos e metodológicos da História Cultural, elegendo o conceito de práticas para a abordagem. Constitui o corpus documental da pesquisa, um conjunto de documentos textuais e visuais, e artefatos. Destaca que o Museu Anchieta de Ciências Naturais, denominação atual, está entre os mais antigos museus escolares e museus de História Natural no país. Constata a importância do trabalho desenvolvido no Museu do Colégio Anchieta para o escopo das Ciências Naturais e dos museus escolares. Conclui que o museu foi associado a uma rede de Museus de História Natural e de comunicação com outros cientistas e instituições / The study developed is focused on the Natural History Museum at Anchieta School (Porto Alegre, RS), by the Jesuit Priest Pio Buck, in 1908. The investigation aims to build the history of the museum, emphasizing the work of teachers and Jesuits researchers, Priest Pio Buck and Priest Balduíno Rambo, whose scientific practices were fundamental to the creation and existence of this museum. Its foundation took place in the scenario of creation of the first Brazilian museums in which you can insert the Natural History Museums and creation of Education museums all over the world, where you can insert the school museums. The collections composed by objects produced by the industry and elements collected in nature formed the collections of the Natural History Museum School. These materials served as models for the understanding and representation of nature and reality, in the framework of the intuitive Method and Thing Lessons. The school museum is configured as a new space in schools, especially in the teaching of Science and Natural History, linked to the scientific context of that time. At the Jesuit schools, there was a tradition of studies in the field of Natural Sciences. The Natural History Museum at Anchieta School, like this, was turned to the teaching of Natural History and research, combining the Jesuit scientific tradition with the pedagogical teaching modernity in the new context of a scientific society. The approach of this study involves Education and Museology, establishing a meeting between the history of Education and the history of museums, establishing relations between the school museums and the Natural History Museums. The study makes relations of the museum related to teaching practices, in a school museum and for the practices of the scientific research as a part of a Natural History Museum. The research finds that the museum brought together educational and scientific collection with character for teaching and science. The investigation identifies the museum as a space of scientific production of the Jesuits. The study builds the history of the museum through its practices from the actions of its agents as teachers, researchers and scientists. It adopts the theoretical and methodological assumptions of Cultural History, choosing the concept of practices to the approach. It constitutes the documental corpus of the research, visual and textual documents and artifacts. It points out that the Anchieta Museum of Natural Sciences, the current name, is among the oldest school museums and Natural History Museums in Brazil. It shows the importance of the work developed in the museum at Anchieta School for the scope of the Natural Sciences and school museums. It concludes that the museum was associated with a network of Museums of Natural History and communication with other scientists and institutions.

Este trabalho se propôs a refletir sobre a história do Museu Histórico Nacional através da dimensão educativa que se fez presente nas práticas institucionais, bem como verificar, sob a perspectiva da História da Educação, a importância do Curso de Museus na construção de representações relacionadas ao caráter educativo da instituição. Compreendeu os anos de 1922 a 1958, período que abrange desde a fundação do museu e as primeiras investidas para a concretização de um curso direcionado para as suas necessidades, até a realização do Seminário Regional da UNESCO Função Educativa dos Museus, bem como as publicações de diplomados do Curso de Museus que tiveram como temática central a educação em museus. A investigação foi realizada utilizando-se a metodologia da análise de textos, percorrendo a trajetória do Museu Histórico Nacional por meio de documentos oficiais produzidos pelo museu; matérias de jornais; livros, artigos, relatórios e entrevista de antigos funcionários da instituição; e publicações de formados pelo Curso de Museus. Para o embasamento teórico do trabalho três áreas do conhecimento tiveram destaque: História da Educação, História Cultural e História dos Museus, dialogando com diversos autores, tais como Antonio Viñao Frago, Moysés Kuhlmann Júnior, Paulo Knauss, Roger Chartier, Pierre Nora, Ulpiano Bezerra de Meneses, Mário Chagas, Aline Montenegro Magalhães. O trabalho ressaltou que desde sua fundação o Museu Histórico Nacional teve definida sua dimensão educativa, condição subsidiada por projetos desenvolvidos pelo corpo funcional da instituição, tendo em destaque o idealizador e primeiro diretor Gustavo Barroso, personagem que fortaleceu a relevância desse museu por meio de evocações como o mote “O Culto da Saudade”. Finalizou ao afirmar que um desses projetos, o do Curso de Museus, em seu processo de consolidação foi capaz de desenvolver uma matriz intelectual no cenário museológico brasileiro tornando-se, por meio dos multiplicadores, um difusor das representações do Museu Histórico Nacional para o País. / This study aimed to reflect about the history of the National Historical Museum through educational dimension that is made present in its institutional practices, as well as verify, under the perspective of the History of Education, the importance of Course of Museums in building representations related to the educational character of the institution. It encompassed the years 1922 through 1958, a period that covers from the foundation of the Museum and the first attempts at achieving a course directed to its needs, to the UNESCO’s Regional Seminar on the Educational Role of Museums, as well as publications of Course of Museums graduates that had as its central theme the museum education. The research was conducted using the analysis of texts methodology, covering the history of the National Historical Museum through official documents produced by the Museum; newspaper articles, books, articles, reports and interviews of former employees of the Institution, and publications by graduates of the Course of Museums. For the theoretical foundation of the work, three areas of knowledge were highlighted: History of Education, Cultural History and Museum’s History, dialoguing with many authors such as Antonio Viñao Frago, Moyses Kuhlmann Jr., Paul Knauss, Roger Chartier, Pierre Nora, Ulpian Bezerra Meneses, Mário Chagas, Aline Montenegro Magalhães. The study emphasized that since its inception the National History Museum had its educational dimension defined, condition subsidized by projects developed by the institution’s functional body, featuring the founder and first director Gustavo Barroso, a character that strengthened the relevance of this Museum through evocations as the motto "O Culto da Saudade." Concluded by stating that one of these projects, the Course of Museums, in its consolidation process was able to develop an intellectual matrix in the Brazilian museum’s scenery becoming, due to multipliers, a diffuser of the representations of the National History Museum for the Country.