Esta pesquisa propõe uma abordagem de gestão de acervos em rede para três instituições públicas na cidade de Santo André, a saber: Museu de Santo André Dr. Octaviano Armando Gaiarsa, Casa do Olhar Luiz Sacilotto e Sabina Parque Escola do Conhecimento. O ponto de partida que determinou a seleção destes equipamentos culturais para que na relação entre eles pudesse se aplicar o objeto de estudo desta pesquisa foi o fato de, em comum, todos servirem à população da cidade de Santo André e possuírem acervos que necessitam de procedimentos museológicos. Qual o papel da gestão e da cadeia operatória museológica para estes acervos? Como resposta a esta pergunta se propõe a hipótese que a adoção da prática da gestão museológica, articulada em rede, respeitando a autonomia das instituições, garantiria sua preservação, asseguraria a execução adequada de recursos e o acesso público ampliado. Também uma premissa que deve ser posta é o fato de uma instituição possuidora de acervo gerar uma demanda pela gestão museológica do mesmo, o que justifica a inclusão da Casa do Olhar Luiz Sacilotto e da Sabina Parque Escola do Conhecimento na pesquisa. Por fim, pela sua natureza, a linha de pesquisa que orienta o projeto é a de Teoria e Método da Gestão Patrimonial e dos Processos Museológicos. / This research proposes a network management approach for collections of three public institutions in the city of Santo André, namely: Museu de Santo André Dr. Octaviano Armando Gaiarsa, Casa do Olhar Luiz Sacilotto and Sabina Parque Escola do Conhecimento. The starting point which determined the selection of these cultural facilities and apply them the object of study was the fact that, in common, all serve the population of the city of Santo André and have collections that require Museum procedures. What is the role of museum management and operative chain for these collections? In response to this question proposes the hypothesis that the adoption of the practice of museum management, articulated in the network, while respecting the autonomy of the institutions, would guarantee their preservation, would ensure the proper implementation of resources and public access. Also a premise that should be made is the fact that an institution be possessor of acquis generates a demand for museological management of same, what justifies the inclusion of Casa do Olhar Luiz Sacilotto and Sabina Parque Escola do Conhecimento in research. Finally, by its nature, the line of research that guides the project is the Theory and Method of Asset Management and Museological Processes.

Esta pesquisa propõe uma abordagem de gestão de acervos em rede para três instituições públicas na cidade de Santo André, a saber: Museu de Santo André Dr. Octaviano Armando Gaiarsa, Casa do Olhar Luiz Sacilotto e Sabina Parque Escola do Conhecimento. O ponto de partida que determinou a seleção destes equipamentos culturais para que na relação entre eles pudesse se aplicar o objeto de estudo desta pesquisa foi o fato de, em comum, todos servirem à população da cidade de Santo André e possuírem acervos que necessitam de procedimentos museológicos. Qual o papel da gestão e da cadeia operatória museológica para estes acervos? Como resposta a esta pergunta se propõe a hipótese que a adoção da prática da gestão museológica, articulada em rede, respeitando a autonomia das instituições, garantiria sua preservação, asseguraria a execução adequada de recursos e o acesso público ampliado. Também uma premissa que deve ser posta é o fato de uma instituição possuidora de acervo gerar uma demanda pela gestão museológica do mesmo, o que justifica a inclusão da Casa do Olhar Luiz Sacilotto e da Sabina Parque Escola do Conhecimento na pesquisa. Por fim, pela sua natureza, a linha de pesquisa que orienta o projeto é a de Teoria e Método da Gestão Patrimonial e dos Processos Museológicos. / This research proposes a network management approach for collections of three public institutions in the city of Santo André, namely: Museu de Santo André Dr. Octaviano Armando Gaiarsa, Casa do Olhar Luiz Sacilotto and Sabina Parque Escola do Conhecimento. The starting point which determined the selection of these cultural facilities and apply them the object of study was the fact that, in common, all serve the population of the city of Santo André and have collections that require Museum procedures. What is the role of museum management and operative chain for these collections? In response to this question proposes the hypothesis that the adoption of the practice of museum management, articulated in the network, while respecting the autonomy of the institutions, would guarantee their preservation, would ensure the proper implementation of resources and public access. Also a premise that should be made is the fact that an institution be possessor of acquis generates a demand for museological management of same, what justifies the inclusion of Casa do Olhar Luiz Sacilotto and Sabina Parque Escola do Conhecimento in research. Finally, by its nature, the line of research that guides the project is the Theory and Method of Asset Management and Museological Processes.

<p>My dissertation, <&ldquo;>Transcending Borders: The Transnational Construction of Mexicanness, 1920-1935,<&rdquo;> examines the conflicting attitudes towards "Mexicanness" or <italic>mexicanidad</italic> both in Mexico and the United States, an area that, Jos<&eacute;> Lim<&oacute;>n, conceptualizes as "Greater Mexico." Beginning with an analysis of the Mexican postrevolutionary state's construction of nationalist culture, I argue that the transnational invention of Mexicanness through the circulation of the Aztec artifact reveals the possibilities for people of Mexican descent to reclaim public space and cultural citizenship on both sides of the U.S.-Mexico border. I examine the construction of Mexicanness through an analysis of the limitations of Mexican post-revolutionary literary production in generating a clear vision of Mexican nationhood as well as the possibilities for nation building offered by public spaces such as the museum and the monument (an outdoor museum). Tracing the cultural manifestations of Mexican nationhood as expressed by the state and by people of Mexican descent is essential to understanding how the nation is practiced and thus intimately intertwined with the practice of citizenship. Through an interdisciplinary analysis of the Aztec artifact's various incarnations as an archaeological artifact, created artifact, and spurious artifact, I contend that the artifact represents an alternative text for the study of nationalism in its ability to narrate a national identity ultimately shaped beyond Mexico's geographical borders.</p> / Dissertation

The history and ideology of preservation increasingly arouse interest in parallel with the rising importance of the cultural heritage and preserving it. Hagia Sophia is one of the monuments that comes to mind immediately when the cultural heritage of Turkey is mentioned. Both as a Byzantine and an Ottoman ecclesiastical and imperial monument, Hagia Sophia bears political and religious importance besides its artistic and architectural uniqueness, 1500 years after its construction. This study aims to expose the change in the official attitudes towards preserving antiquities in the transition period from the Ottoman Empire to the Turkish Republic, through examining the ideological and physical approaches to Hagia Sophia. In the Late Ottoman Period important leaps about two important components of cultural life, museology and archeology, were realized in terms of both preservation and exposition of the antiquities, besides the political, economical and judicial changes. Thus, the emergence of museological and archeological studies and related legislations in the Late Ottoman Empire Period and their development in the Early Republican Period are examined chronologically in this study. The reasons behind the changes in the usage of Hagia Sophia, from a church to a mosque and then to a museum, are researched in order to understand the ideology of the adaptive re-use and its results while evaluating the impact and meaning of the afterlives. The selected time period is very critical because the changes occurring in the social and political life of the country, together with the change of the ruling power, paved the way for the present situation in Turkey.

<p> Single donor museums like the Isabella Stewart Gardner in Boston, the McNay Museum of Art in San Antonio, the Walker Art Center in Minneapolis and The Barnes Foundation in Merion and Philadelphia, provide an intimate experience for their visitors, donors, supporters and staff members. They must compete with larger, more encyclopedic museums, with larger budgets and more resources. Like all museums, they hold art in the public trust and are responsible to the public. Contemporary museology asks not only that all museums protect their collections and educate the public, but that they also engage with their communities. None of the single donors highlighted had to donate their art, their money or their homes, but all chose to. Each museum chose to expand or relocate in response to difficult problems, whether financial, logistical (need for more space) or legal. Each engages new publics in creative ways. Certain predictable problems arose for each and they creatively resolved (and continue to resolve) those problems. Lessons learned from the experience of four single donor museums may suggest new thinking for those anticipating similar expansions or moves.</p>

<p> This thesis examines the early years (1921-1939) of the Smoki People of Prescott, Arizona. The Smoki were a civic organization predicated upon a perceived imperative to act within the capacity of guardians and authorities of regional and cultural heritage. This work seeks to examine the social and political dynamics that shaped the mission of the Smoki, and to evaluate the historical context that facilitated and sustained the organization's ability to engage in the politics of indigenous cultural appropriation, representation and display.</p>

Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2007. / Title from PDF t.p. (viewed Dec. 5, 2008). Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: . Adviser: John Louis Lucaites.

Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2007. / Adviser: John Louis Lucaites.

Theses (M.S.)--University of Hawai'i at Hilo, 2010. / Advisor : Wilson, William H. Bibliography : p.89-91.

Contextualiza a influência das Tecnologias da Informação e Comunicação na sociedade, especialmente no universo do patrimônio digital, materializado nos sítios de instituições museológicas de artes visuais brasileiras. Tem por principal objetivo averiguar que conteúdos informacionais são apresentados nos sítios de museus brasileiros, enfocando: a) a validação de seu patrimônio de imagens digitais, na forma de seu catálogo virtual; b) o acesso e a disseminação da informação, através do uso de ferramentas interativas. O referencial teórico contempla os temas da tecnologia, comunicação, virtualidade, as redes e a imagem como meio de disseminação da informação em arte. A metodologia é de cunho qualitativo, situando-se a pesquisa como exploratória. Utiliza duas ferramentas de coleta de dados especialmente desenhada para a investigação. São elas: um questionário institucional, constatando o posicionamento das instituições sobre o tema proposto sobre seus patrimônios digitais e seus catálogos virtuais; um formulário para o levantamento de informações disponibilizadas em sítios de artes visuais, criado a partir do referencial teórico e de características específicas identificadas em sítios de museus virtuais, anteriormente visitados, aplicado aos sujeitos selecionados para o estudo. O escopo do trabalho consiste no grupo de instituições de arte brasileiras que possuem sítios na Rede com catálogos virtuais de suas coleções de imagens, totalizando dez museus. Os resultados demonstram que: há preocupações com o patrimônio digital, mas este ainda não é tratado como um repertório significante em termos de cuidados com a produção, armazenagem e disseminação para a sociedade; a comunicação e a interação com os públicos sobre os acervos digitais ainda é pouco relevante, constatado pela pequena participação das instituições nas redes sociais; nenhum controle de acesso aos setores dos catálogos virtuais; pouca apropriação tecnológica das ferramentas da web 2.0, tais como redes sociais e recursos interativos nos setores educativos dos sitios. Recomenda que: mais estudos sejam produzidos para verificar o por quê da pouca utilização desses recursos: seja dada atenção para a importância do investimento na qualidade de conteúdos para a disseminação da informação sobre as coleções brasileiras; seja observado o reconhecimento de parâmetros de padronização na geração, armazenagem e disseminação dos patrimônios digitais dos sítios de museus brasileiros. / Contextualizes the influence of Information and Communication in society, particularly in the universe of digital heritage, reflected in the sites of museum institutions of Brazilian visual arts. Its main goal to verify that information contents are displayed on websites of Brazilian museums, focusing on: a) the validation of digital images of their assets in the form of your virtual catalog b) access and dissemination of information through the use of tools The theoretical framework includes interactive themes of technology, communication, virtual, networks and image as means of information dissemination in art. The methodology is qualitative, standing as exploratory research. It uses two data collection tools designed specifically for research. They are: an institutional questionnaire, noting the placement of the institutions on the theme about their digital assets and their virtual catalogs, a form for collecting information on available sites of visual art, created from the theoretical framework and specific features identified sites of virtual museums, visited previously applied to the subjects selected for the study. The scope of work is a group of Brazilian art institutions that have sites on the Net with virtual catalogs of their collections of images, totaling ten museums. The results show that: there are concerns about the digital heritage, but this is still not treated as a significant repertoire in terms of care with the production, storage and dissemination to society, communication and interaction with the public about the digital collections is still little relevance, as detected by the low participation of institutions in social networks, no access control to the sectors of virtual catalogs, limited technological appropriation of Web 2.0 tools such as social networking and interactive features in the areas of educational sites. Recommends that more studies should be produced to verify why the low utilization of these resources: attention is paid to the importance of investing in quality content for the dissemination of information on the Brazilian collections; recognition is observed in the standardization of parameters for generation , storage and dissemination of digital heritage sites of Brazilian museums.