Dissertation (BCS (Hons)--Communication Studies) -- AUT University, 2007. / Includes bibliographical references. Also held in print (iii, 53 leaves ; 30 cm.) in City Campus Theses Collection (T 069 STU)

The 2-28 Incident is one of the most influential events in recent Taiwan history. The establishing the Taipei 228 Memorial Museum is running on build-operate-transfer way. The Taiwan Peace Foundation was the first nongovernmental foundation commissioned to manage the museum's operations, which were achieved remarkable success. Then the Taipei 228 Memorial Museum were taken over by the Taiwan Area Development Research Institute from June 1, 2000 to December 31, 2002. The Taipei City Government's Department of Cultural Affairs assumed management duties for the museum on January 1, 2003, because of the uneconomic manpower and administrative expenditure. Manages the museum by the government, always has been criticized in inefficient management. Especially limits under the budget funds and the organization manpower in it which shrinks, therefore this hall museum function also receives limits, the such disadvantageous management situation also reflects in the visit population. This research inquired into the Taipei 228 Memorial Museum in the past, the present and the future operation, will borrow the business management five big function concept on the organization, the finance, the museum¡¦s collection, the research, the exhibition and the education . Presenting the past and the present of the Museum. Finally on present situation and questions proposed this museum about the future management and suggestions.

Philosophiae Doctor - PhD / On 15December 2011, the now ousted South African President Jacob Zuma officiated the opening of the Gallows Memorial Museum at the Pretoria Central Correctional Facility, a project undertaken by the Department of Correctional Services. This Project saw the gallows at what was previously Pretoria Central Maximum (C-Max) Prison, which had been dismantled in 1996 following the abolition of the death penalty in South Africa, restored and reopened as a museum. At the top of the notorious 52 steps that condemned prisoners climbed to reach the execution room, the then president unveiled a dedicated wall with individualised plaques for each of the political prisoners who had died there between 1960 and 1989. “Today” the president announced, “all 134 names are officially being enshrined for eternity so that future generations will know what this country went through, so that we never go through a similar horror ever again. The Museum is meant to act as an anti-death penalty monument, to honour the anti-apartheid activists who were hanged by the apartheid state and to encourage “healing.” This was to be “a place where the political prisoners who were hanged there can be honoured and the past can be buried. Reflecting the African National Congress (hereafter ANC)- centered dominant narrative of resistance in South Africa, Zuma emphasised the executions of ANC cadres. He failed to note that the Pan Africanist Congress was the organisation that had lost the greatest number of its members to judicial executions.

Dissertation--Düsseldorf--Heinrich-Heine-Universität, 2005. / Bibliogr. p. [331]-368.

Philosophiae Doctor - PhD / Since 1994, the District Six Museum, in constructing histories of forced removals from District Six, Cape Town, commenced as a post-apartheid memory project which evolved into a memorial museum. Design has been a central strategy claimed by the museum in its process of making memory work visible to its attendant publics evolving into a South African cultural brand. Co-design within the museum is aesthetically infused with sensitively curated exhibitions and a form of museumisation, across two tangible sites of engagement, which imparts a unique visual language

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Museums today provide learning-rich experiences and quality informational resources through both physical and virtual environments. This study examined a Holocaust Museum traveling exhibition, Life in Shadows: Hidden Children and the Holocaust that was on display at the Art Center of Battle Creek, Michigan in fall 2005. The purpose of this mixed methods study was to assess the informational value of a Holocaust Museum exhibition in its onsite vs. online format by converging quantitative and qualitative data. Participants in the study included six eighth grade language arts classes who viewed various combinations or scenarios of the onsite and online Life in Shadows. Using student responses to questions in an online exhibition survey, an analysis of variance was performed to determine which scenario visit promotes the greatest content learning. Using student responses to additional questions on the same survey, data were analyzed qualitatively to discover the impact on students of each scenario visit. By means of an emotional empathy test, data were analyzed to determine differences among student response according to scenario visit. A principal finding of the study (supporting Falk and Dierking's contextual model of learning) was that the use of the online exhibition provided a source of prior orientation and functioned as an advanced organizer for students who subsequently viewed the onsite exhibition. Students who viewed the online exhibition received higher topic assessment scores. Students in each scenario visit gave positive exhibition feedback and evidence of emotional empathy. Further longitudinal studies in museum informatics and Holocaust education involving a more diverse population are needed. Of particular importance would be research focusing on using museum exhibitions and Web-based technology in a compelling manner so that students can continue to hear the words of survivors who themselves bear witness and give voice to silenced victims. When perpetuity of access to informational resources is assured, future generations will continue to be connected to the primary documents of history and cultural heritage.

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"...the writer undertook in this studyan evaluation of the seven major art museums of Texas and their contribution to public-school education. Chapter I served as an introduction to the study. Chapter II traced the development of the art museum in American, dating back to the period of colonial settlements in New England. It also presented the history of the art museums in the five key cities of Texas: the Elisabet Ney Museum of Austin, the Dallas Museum of Fine Arts, the Museum of Fine Arts of Houston, the Fort Worth Art Association, the Children's Museum of Forth Worth, the Witte Memorial Museum of San Antonio and the Contemporary Arts Association of Houston. In addition, the general policies and programs of the Texas museums were discussed. Chapter III evaluated the programs of the seven majoy art museums according to the standards set up by the Texas Art Education Association...Chapter IV will present the writer's conclusions and recommendations." -- leaves 35-36.

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