This thesis considers exhibitions in natural history museums as a process of negotiation between three parties: the museum as an institution, the museum staff, and the visitors. These represent different interests that shape exhibitions relating to nature. The thesis asks the following main question: In what way do discourses play a role in the staff’s work within natural history museums? The empirical sources are based on interviews conducted with staffmembers from eight different natural history museums: six in Austria and two in Norway. The interviews are analysed based on the principles of discourse psychology and critical discourse analysis. The theoretical framework is based on postmodernism as a reaction and countermovement to modernism. Kant’s theory of knowledge, the concept of representation and discourse theory are considered in relation to one another and form an ontological departure for the epistemology. The methodology combines critical discourse analysis and discourse psychology as applied to conversational text. The discourse analysis reveals different discourses concerning the museum as institution, professional museum staff, and the visitors. The thesis concludes that the museum as institution is characterised by a knowledge culture/tradition that was particularly substantiated during the Enlightenment. In turn, the knowledge tradition is characterised by discourse that places expectations regarding the procedures of the employee, but also through the visitors’ expectations as to what a museumis and what the exhibitions provide them with. The employees meet the museum understood as discourse through mainly three different strategies for how exhibitions should function. I call these strategies ‘action promotion’, ‘communication focus’ and ‘political context’. In this way, the identities and actions of the employees depend considerably on their personal relationship to the museum as a concept and discourse, as well as to the visitors’ presumptions, expectations and experiences concerning museums. / Diese Master-Arbeit betrachtet die Ausstellung eines naturgeschichtlichen Museums als Ergebnis eines Verhandlungsprozesses zwischen drei Parteien mit unterschiedlichen Interessen: dem Museumspersonal, dem Museum als Institution sowie dem Publikum. Die Hauptfragestellung der Arbeit lautet: In welcher Weise spielen Diskurse in der Arbeit derwissenschaftlichen Angestellten naturgeschichtlicher Museen eine Rolle? Der theoretische Rahmen der Arbeit basiert auf dem Postmodernismus als einer Reaktion auf und Gegenbewegung zum Modernismus. Kants Erkenntnistheorie, das Konzept der Repräsentation sowie die Diskurstheorie bilden zusammen die ontologische Grundlage der Epistemologie. Die Methodologie kombiniert gesprächsbezogene kritische Diskursanalyse und Diskurspsychologie. Das empirische Material besteht aus Interviews mit wissenschaftlichen Angestellten acht naturgeschichtlicher Museen, davon sechs in Österreich und zwei in Norwegen. Die Diskursanalyse deckt unterschiedliche Diskurse hinsichtlich des Museums als Institution, der wissenschaftlichen Angestellten sowie des Publikums auf. Die Arbeit schlussfolgert, dass das Museum als Institution von einer Wissenskultur gekennzeichnet ist, die insbesondere in der Zeit der Aufklärung begründet ist. Diese Kultur ist insofern diskursgeprägt, als dass sie bestimmte Erwartungen an die Arbeit des Museumspersonals beinhaltet, aber auch durch die Erwartungen des Publikums an ein Museum und seine Ausstellungen. Die Angestellten nähern sich dem Museum als Diskurs, in dem sie hauptsächlich drei verschiedene Strategien im Hinblick auf die Funktion von Ausstellungen verfolgen: Inspiration zu eigenständigem Handeln (”Handlungspromotion”),auf das Publikum zugeschnittene Kommunikation (”Kommunikationsfokus”) sowie Einbeziehung politischen Kontexts. Insofern hängen Identität und Handeln der Angestellten stark von ihrer persönlichen Beziehung zum Museum als Konzept und Diskurs ab, ebenso wie von ihren Annahmen bezüglich der Erwartungen des Publikums und dessen Erfahrungen mit Museen.

This dissertation critically analyses New Zealand’s National Museum Te Papa Tongarewa. Since it opened in 1998, Te Papa, arguably the world’s foremost exponent of the ‘new museology’, has been popularly and critically supported for its innovations in the areas of popular accessibility, bicultural history, and Maori-government management arrangements. As the first in-depth study of Te Papa, I examine and problematise these claims to exceptionality. In producing an analysis that locates the museum within cultural, political, economic and museological contexts, I examine how the museum’s particular institutional program develop, and point to limitations in its policy and practice.

This thesis aims to illustrate and explain contemporary interactions between Western ethnographic museums and broader society. It is based on one central case study, the Slovene Ethnographic Museum (SEM) in Ljubljana, Slovenia. A majority of informants expressed a wish for the museum to be a platform for dialogue. In connection to their visions, this thesis discusses the potential of ethnographic museums to work towards promoting and facilitating inclusivity and social change as well as some tensions that arise from this development. This is done through an analysis of ethnographic data on museum employees’ views on the relevance and responsibilities of the museum and its status as a cultural and scientific institute. New museology and actor-network theory are used as primary analytical tools. A responsibility to represent ‘correctly’ in the museum is related to the influence that tangible and intangible heritages, as actants, can have on society. It is argued that cultural heritage could be instrumental in achieving positive social change. However, there is a core tension between the envisioned position of the museum and the power hierarchy that it maintains through its identity as a scientific institute that shapes dominant knowledge.

Dès l'indépendance, l'Algérie traça une politique culturelle visant la prise en charge globale de son patrimoine culturel. L'état des lieux montra des conditions de développement culturel déplorables, héritées de l'époque coloniale. Une politique d'institutionnalisation des différents aspects du patrimoine national fut progressivement mise en œuvre, accompagnée d'un dispositif juridique important. Les débuts de l'archéologie algérienne se singularisent par des pratiques empiriques, eu égard aux carences en ressources humaines qualifiées, à l'absence de savoir-faire dans le domaine des métiers du patrimoine. Une attention particulière fut accordée à l'archéologie musulmane eu égard au retard accusé par rapport à l'époque antique. Cependant, des difficultés inhérentes aux approches et stratégies mises en œuvre (mode de gestion centralisée, carence en formation, insuffisance de moyens,...) ont contribué à maintenir le développement du secteur patrimonial à un cap qui n'eut pas l'ampleur souhaitée par les acteurs de la culture. Une étude de cas porte sur deux musées de sites, les musées archéologiques de Cherchel ; l'un est de conception et de création coloniale ; l'autre est de programmation algérienne. Cette étude de cas met en exergue les stratégies, les approches et les pratiques muséologiques algériennes. / After the independence, Algeria developed a cultural policy for the overall management of its cultural heritage. An assessment of the former indicated deplorable cultural development conditions which were inherited from the colonial era. A policy of institutionalization of the different aspects of the national heritage was implemented gradually, accompanied by the implementation of important laws. The beginnings of Algerian archeology were characterized by empirical practices that typically arose from the lack of qualified human resources. A special attention was given to the Islamic archeology with regard to the significant delay that occurred in the ancient times. However, the difficulties inherent to the implementation of training, insufficient resources, etc...) have contributed to maintain the development of the heritage sector, unfortunately no to the desired extent. A case study that focuses on two the museums, the archeological museums of Cherchel ; the first site museum is of colonial design and creation and the second one is of an Algerian design. This case study highlights the strategies, approaches and practices of the Algerian museums.

This study examines the processes behind two of Moderna museets complementary projects: The Museum of Wishes and The Second Museum of Wishes. The purpose of this study is to, by using these projects, examine the connection between collections and collectors, and to examine the relationship between museums, complements of the collection and representation. The aim is to compare the projects and find out if there were different reasons, methods or other significant factors that might have affected the processes. I intend to explain how these projects can be understood as a practice of complementary collecting by relating them both to collection theory and representation. My theoretical framework primarily consist of Susan Pearce’s research. I have chosen to incorporate her concepts of the poetics of collecting, the politics of collecting and the importance of earlier collected experience in my comparative study of the projects. In addition, I have also incorporated research about categories with the intention of relating it to Pearce. By studying literature that discusses the historical aspect of the projects, as well as articles, catalogues and documents that were contemporary with the projects, I have been able to compare the backgrounds as well as ideologies that might have influenced the projects. The result of this study shows that although there were many differences between the methods and processes, the art works that were collected during the projects can both be interpreted as a physical changing of the collection, a changing of the structure of the collection and a changing of the identity of the museum. What the museum gathered during the projects didn’t just represent what the organizer thought the museum needed, but can also be understood as a way of changing the standard of the collection in order to be able to compete with other museums or gathering more knowledge. This study is a two years master’s thesis in Museums and Cultural and Heritage Studies.

No description available.

Dans les institutions muséales dévolues à la communication scientifique publique, la médiation dite « présentielle », plaçant en coprésence des objets, un public et un médiateur dans un environnement dédié, reste méconnue. Du point de vue des SIC, l’analyse de situations concrètes permet de dépasser le seul cadre d’une transmission d’informations, pour s’interroger sur l’importance des formes du tiers dans le contexte de construction du sens. La communication présentielle est éphémère et repose sur les paroles et les gestes d’un tiers incarné. Elle offre une plus grande potentialité d’échanges dans la situation, à la différence d’autres médias, comme l’exposition. L’objectif de cette recherche est d’interroger la place de ces spécificités dans les dispositifs de médiation du Pavillon des sciences, un Centre de Culture Scientifique, Technique et Industrielle. Menée en immersion et à partir de méthodes qualitatives (observations, entretiens), elle a permis d’observer le déroulement de situations de médiation, d’adopter le point de vue du public et celui des animateurs. Les animateurs scientifiques proposent au public des formes d’accès aux savoirs scientifiques basées sur l’articulation d’un propos et d’une mise en scène de l’approche expérimentale. Ces résultats permettent de mettre au jour une forme de communication sui generis, hybride entre médiation muséale et animation, et mettant à disposition une diversité de signifiants. / In science museums and science centers, "presential" mediation positioning a mediator and the public in the co-presence of objects within a dedicated environment, remains relatively unknown. From a Communication Science perspective, analyzing actual situations transcends the simple provision of information, and focuses on the significance of third party forms within the construction of meaning. Presential communication is transient and centered on the words and gestures of an embodied third party. It provides a greater potential for interactions around practical situations, unlike other media (i.e. an exhibition). The purpose of this research is to question the rightful place of these specificities within mediation processes in the Pavillon des Sciences, a french science center. Using qualitative methods and an immersive approach (observations, interviews), this research has enabled the analysis of mediation situations and adopted the viewpoint of both the explainers and the public. Scientific mediators propose different forms of access to scientific knowledge to the public, based on the exploration of a theme and presentation of an experimental approach. These results renew a hybrid form of sui generis communication, between museal interpretation and sociocultural activities, through the presentation of a variety of signifiers.

Made available in DSpace on 2015-04-16T15:23:12Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2287735 bytes, checksum: 3b6ec7489ea1e266aede7e26c096d133 (MD5) Previous issue date: 2011-03-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Information Science and Museology show openness to dialogue discipline. Both areas interested in the museum exhibitions (LOUREIRO, LOUREIRO, SILVA, 2008; MORAES, 2008) included as the main vehicle for creating social significance of the museum. This thesis aims to analyze the narrative exposition of the Casa of José Américo Museum (CJA) from the characterization of the formation and operation of its expository structures, while information practices, characterized as a descriptive analysis of character too, exploratory approach outlined as a field study (Gil, 2006). It addresses the following themes: information; dialogical relation of Information Science, Museology and Semiotics, Memory and Collective Identity, Culture Heritage Material; Typologies Museum, emphasizing the Houses-Museum, museum exhibitions and Informational Practices in museological context. The research is the permanent exhibition at the Casa of José Américo Museum, located in the city of João Pessoa - PB, whose collection represents the life and work of writer and politician José Américo. It is used as a research method to Semiotic Analysis. To collect data we used the technique of direct observation and qualitative non - participatory and non-directed and informal interviews with museologist who planned and assembled the exhibition of the Museum CJA. It is concluded that exposure can be studied as a museum and field research object, understanding it as a space for dissemination of information, representing the social and cultural role of the museum. Understanding how memory representation (DIEHL, 2002) one can see that Semiotics, both as theory and as a research method, is the theory that underlies this representational process, since it is given both in the context of materiality - sign object, sign vehicle - as in the immateriality - interpretant sign. Therefore, the analysis of informational phenomena, focusing on the collective cultural memory, pervades the relationship with the semiotic analysis, through which you can build methodological models for the study of information as memory support. Understand the museums as producers of information and construction of representations from fragments of reality represented there in the material culture expressed in the exhibits is to see the museum as a place of production of meaning. / A Ciência da Informação e a Museologia apresentam abertura para o diálogo disciplinar. Ambas as áreas interessam-se pelas exposições museológicas (LOUREIRO, LOUREIRO, SILVA, 2008; MORAES, 2008) compreendidas como o principal veículo de criação de significação social do museu. Essa dissertação objetiva analisar a narrativa expositiva do Museu Casa de José Américo (CJA) a partir da caracterização da formação e o funcionamento das suas estruturas expositivas, enquanto práticas de informação, caracterizando-se como uma análise descritiva, de caráter também exploratório, de abordagem delineada como um estudo de campo (Gil, 2006). Aborda as temáticas: Informação; relação dialógica Ciência da Informação, Museologia e Semiótica; Memória e Identidade Coletiva; Patrimônio Cultura Material; Tipologias de Museu, enfatizando as Casas-Museus; Exposições Museológicas e Práticas Informacionais em contexto museológico. O universo da pesquisa é a exposição permanente do Museu Casa de José Américo, localizado na cidade de João Pessoa - PB, cujo acervo representa a vida e obra do escritor e político José Américo. É utilizada como método de pesquisa a Análise Semiótica. Para a coleta de dados foi utilizada a técnica da observação qualitativa direta e não participativa e a entrevista não dirigida e informal com a museóloga que planejou e montou a exposição do Museu CJA. Conclui-se que a exposição museológica pode ser estudada como campo e objeto de pesquisa, compreendendo-a como um espaço de divulgação da informação, representando o papel social e cultural do museu. Compreendendo a Memória como representação (DIEHL, 2002) é possível perceber que a Semiótica, tanto enquanto teoria quanto como método de pesquisa, é a teoria que fundamenta esse processo representacional, uma vez que esta se dar tanto no contexto da materialidade - signo objeto, signo veículo quanto na imaterialidade signo interpretante. Portanto, a análise dos fenômenos informacionais, com foco na memória cultural coletiva, perpassa pela relação com a análise semiótica, através da qual é possível construir modelos metodológicos para o estudo da informação enquanto suporte da memória. Compreender as instituições museológicas como produtoras de informação e construtoras de representações através de fragmentos da realidade ali representados na cultura material expressa nos objetos expostos é perceber o museu como espaço de produção de significação.

Submitted by ANA MARIA MINICI MIRIO null (anamirio@bol.com.br) on 2016-10-11T18:10:19Z No. of bitstreams: 1 Ana_Mirio dissert final.pdf: 6720046 bytes, checksum: d1795baa94ed4d0ec2e08605ca3e4cff (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-10-14T17:40:35Z (GMT) No. of bitstreams: 1 mirio_amm_me_ia.pdf: 6720046 bytes, checksum: d1795baa94ed4d0ec2e08605ca3e4cff (MD5) / Made available in DSpace on 2016-10-14T17:40:35Z (GMT). No. of bitstreams: 1 mirio_amm_me_ia.pdf: 6720046 bytes, checksum: d1795baa94ed4d0ec2e08605ca3e4cff (MD5) Previous issue date: 2016-08-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Diante do crescente destaque do processo da mediação cultural no contexto das instituições museológicas brasileiras, as questões relativas à formação do educador/mediador, que é o profissional responsável por estabelecer este processo, adquiriu uma distinta importância. Trabalhando como educadora/mediadora em diversas instituições culturais desde 1997, com passagens também como professora do ensino formal, a autora pretendeu apresentar um trabalho relatando sua experiência como professora do curso Técnico em Museologia, na ETEC/Parque da Juventude, responsável pelos componentes curriculares “Mediação em Museus” e “Laboratório de Práticas de Mediação em Museus”. Com o objetivo de elencar os assuntos e as estratégias pedagógicas que poderiam contribuir para uma maior qualificação do profissional Técnico em Museologia, os questionamentos surgidos a respeito dos temas teóricos e práticos, a forma de apresentação e articulação entre eles, além da sua adequação aos profissionais que irão desempenhar seu trabalho em museus de diferentes tipologias, foram os principais desafios para a elaboração do plano de aulas, colocado em prática ao longo do segundo semestre de 2013 até o segundo semestre do ano de 2015. O trabalho relatado foi desenvolvido com cinco turmas atendidas no período especificado e aborda as quatro vertentes práticas desenvolvidas, a saber: temas das aulas - teoria e prática- e a bibliografia sugerida; parcerias com instituições culturais, orientação dos trabalhos de conclusão de curso e palestras com profissionais da área da Educação em Museus. / Given the increasing empashis put on the cultural mediation process in the context of Brazilian museological institutions, the questions relative to the training of the educator/mediator; that is, the professional responsible for establishing the mediation process; acquired a distinct importance. Working as an educator/mediator in a multitude of cultural institutions since 1997, and having worked, also, as a formal education teacher, the author intended to present a paper portraying her experience as a teacher in the Technical course of Museology, at ETEC/Parque da Juventude, responsible for the curricular components Mediation in Museums and Laboratory of Mediation Practices in Museums. In order to list the subjects and pedagogical strategies that could contribute to a larger qualification of the professional museology technician, the questions arisen about the topics, both theoretical and practical, the form of presentation and articulation between them, as well as its suitability to the professionals that will perform their work in museums of different typologies, were the main challenges regarding the formulation of a lesson plan, put in practice from the second semester of 2013 to the second semester of the year 2015. The work reported was developed alongside five classes tended to during the specified period and covers four practical lines formulated, the themes of each lesson - theoretical and practical - and the suggested bibliography; the partnerships with cultural institutions, the orientation of course completion assignments and the lectures with professionals from the Education in Museums field.

Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This study deals with the archaeological heritage management, specifically the management of information related to collections that received endorsement of museum institutions linked to Federal University of Sergipe (UFS), namely: Archaeology Museum of Xingó (MAX) and collections from Museum of Man of Sergipe (MUHSE). In granting the institutional endorsement to archaeology projects under contract, these institutions became responsible for vast amount of collections. Thinking about the archaeological heritage as a source of information, the objective of this study is to analyze the mechanisms made for information management concerning the collections of archaeological field collected under contract archaeology, and under the custody of museums in the Federal University of Sergipe, as well how to check if these procedures - if any - interact with the guidelines of the areas of Archaeology and Museology in relation to collections management. In front of the collections in the custody of the UFS, and the need for realization of management procedures for the archaeological heritage, this study assumes that it is imperative structuring mechanisms that permeate from the act of acquisition to the dissemination of information collections. This planning will be more complicated under the absence of several actions that prevent the collections management, especially if it occurs during the archaeological “rescue”. Lastly, the social role of museum institutions for knowledge of information in relation with archaeological heritage is consider, highlighting the necessity of implementing the museum documentation procedure on the archaeological collections, both by museum institutions as in field work, where these management mechanisms will enable the dissemination of information belonging to these cultural objects that are liable to be interpreted as acts and voices of past people to understand the social practices of present. / O presente estudo trata da gestão do patrimônio arqueológico, especificamente, o gerenciamento de informações referente às coleções que receberam endosso das instituições museológicas vinculadas a Universidade Federal de Sergipe (UFS), a saber: Museu de Arqueologia de Xingó (MAX) e as coleções provenientes do Museu do Homem Sergipano (MUHSE). Ao conceder o endosso institucional aos projetos de arqueologia por contrato, essas instituições tornaram-se responsáveis por vasta quantidade de coleções. Pensando no patrimônio arqueológico como fonte de informação, o objetivo deste trabalho é analisar os mecanismos realizados para o gerenciamento de informações relativas às coleções do campo arqueológico coletadas no âmbito da arqueologia por contrato, e sob a guarda dos museus da Universidade Federal de Sergipe, bem como verificar se estes procedimentos – se é que existem – interagem com as diretrizes das áreas de Arqueologia e Museologia no que tange a gestão de coleções. Diante das coleções sob a guarda da UFS, e da necessidade de realização dos procedimentos de gestão para o patrimônio arqueológico, este estudo parte da premissa que é impreterível a estruturação de mecanismos que permeiem desde o ato de aquisição até a disseminação de informação relativa as coleções. Um planejamento estruturado visa evitar que informações sejam perdidas diante de várias ações que impedem a gestão de coleções, principalmente, durante o “salvamento” arqueológico. Por fim, reflete-se também sobre o papel social das instituições museológicas para o conhecimento das informações no que se refere ao patrimônio arqueológico, ressaltando a necessidade da execução do procedimento de documentação museológica sobre as coleções arqueológicas, tanto pelas instituições museológicas, bem como nos trabalhos de campo. Onde, esses mecanismos de gestão, possibilitarão a disseminação de informações pertencentes a esses bens culturais que são passíveis de serem interpretados como atos e vozes de povos do passado para a compreensão das práticas sociais do presente.