Submitted by Zamana Lima (zamanabrisa@hotmail.com) on 2016-08-09T21:34:27Z No. of bitstreams: 1 dissertacao mestrado zamana brisa.pdf: 4742215 bytes, checksum: 3222fb4319e19c5cc5395d90f7500d43 (MD5) / Approved for entry into archive by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2017-05-31T12:31:24Z (GMT) No. of bitstreams: 1 dissertacao mestrado zamana brisa.pdf: 4742215 bytes, checksum: 3222fb4319e19c5cc5395d90f7500d43 (MD5) / Made available in DSpace on 2017-05-31T12:31:24Z (GMT). No. of bitstreams: 1 dissertacao mestrado zamana brisa.pdf: 4742215 bytes, checksum: 3222fb4319e19c5cc5395d90f7500d43 (MD5) / FAPESB / Esta dissertação se associa à iniciativa de criação do Museu do Alto Sertão da Bahia (MASB), no território que dá nome a essa instituição, com sede em Caetité - Bahia - Brasil, e analisa as relações entre museus, Museologia e a cultura digital. Nesse sentido, expõe reflexões sobre a importância de aproximar o MASB, como projeto pioneiro voltado para um território específico, das novas tecnologias da informação e comunicação (TICs), principalmente em relação à Internet. Dessa forma, fundamenta-se em estudos que facilitem a compreensão do espaço em que essa instituição está inserida, o Alto Sertão, e mais especificamente a cidade de Caetité, que é o recorte espacial geográfico desta pesquisa. Além disso, a pesquisa aborda a ideia de virtual, traçando conexões com a Museologia, e dialoga com a Internet como meio que qualifica ou legitima os chamados "museus virtuais". Assim, ancorada no vocabulário filosófico, a pesquisa defende que o virtual é um processo abrangente a todo e qualquer museu, independentemente de sua tipologia. Além disso, a dissertação aborda a questão da desterritorialização de um museu de território em processos de virtualização que, na verdade, independem da Internet, podendo esta, entretanto, ser um agente impulsionador de mudanças e potencializador de acesso. Acredita-se que os processos de virtualização possam fazer do MASB um museu virtual e que as TICs atuem como mediadores no processo de comunicar o patrimônio de maneira integrada e multidisciplinar, trazendo para essa instituição uma perspectiva de dinamização e expansão. / This dissertation associates the initiative of creation of the Museum of the High Interior of Bahia (MASB), in the territory that gives name to that institution, with thirst in Caetité - Bahia - Brazil, and it analyzes the relationships among museums, Museology and the digital culture. Then, it exposes reflections on the importance of approaching MASB, while I project pioneer gone back to a specific territory, of the new technologies of the information and communication (TICs), mainly in relation to the Internet. This way, it is based in studies that facilitate the understanding of the space in that institution is inserted, the High Interior of Bahia, and more specifically the city of Caetité, the geographical space cutting of this research. This way, the research approaches the idea of virtual tracing connections with Museology and dialogues with the Internet while half that qualifies or it legitimates them called "virtual museums". Like this, anchored in the philosophical vocabulary, the research defends that the virtual is an including process to whole and any museum, independent of its typology. Besides, the dissertation approaches the subject of the deterritorialization of a territory museum in virtualization processes that, actually, independent of the Internet, being able to not this, however, to be an agents booster of changes and access potentiator. It is believed that the virtualization processes can do a virtual museum of MASB and that TICs acts as mediators in the process of communicating the patrimony in an integrated way and multidisciplinary, bringing for this institution a dynamics perspective and expansion.

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.

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.

A oferta de cursos universitários em Museologia se expandiu de maneira significativa ao longo das duas últimas décadas no Brasil. Se até princípios dos anos 2000 o país contava com apenas dois cursos de Bacharelado ativos - o da Universidade Federal do Estado do Rio de janeiro (UNIRIO) e o da Universidade Federal da Bahia (UFBA) -, atualmente, encontram-se cadastrados no Ministério da Educação (MEC) dezesseis cursos voltados para essa área de formação, o que evidencia a dinamização e crescimento do setor museológico no cenário brasileiro. Não obstante, este processo de ampliação das perspectivas de formação profissional suscita uma série de questões e desafios, devendo ser objeto de análises que colaborem para a proposição de diretrizes comuns para a capacitação profissional, com vistas ao fortalecimento do campo disciplinar da Museologia. Sendo assim, no intuito de contribuir para as discussões voltadas à capacitação na área - principalmente no que se refere ao ensino das noções de gestão e de planejamento, sob a perspectiva desta disciplina - a presente pesquisa teve como finalidade mapear o perfil da oferta formativa que caracteriza os cursos de Bacharelado em Museologia atualmente em funcionamento e, mais especificamente, verificar como as ideias de gestão e planejamento aparecem nos currículos dos referidos cursos. Para o seu desenvolvimento, nos valemos de métodos qualitativos de análise, como levantamento bibliográfico sobre a consolidação da Museologia enquanto campo disciplinar independente e sobre a trajetória do ensino na área dentro do contexto brasileiro; além da consulta das diretrizes nacionais para formação na área e dos programas pedagógicos dos cursos, com suas respectivas matrizes curriculares e ementários das disciplinas. A sistematização e posterior análise dos dados permitiu identificarmos que houve avanços no âmbito da formação profissional em nível de graduação em Museologia no Brasil não só em termos quantitativos, como também em termos qualitativos, o que, sem dúvida, vem contribuindo para a consolidação deste campo disciplinar. Com relação à gestão e ao planejamento, o protagonismo alcançado por estes temas junto ao universo museológico fez com que, na atualidade, sejamos levados a tratá-la como uma função do museu, para além das tradicionais funções de salvaguarda, pesquisa e comunicação (DESVALLÉES; MAIRESSE, 2013). De fato, esta centralidade se reflete na configuração da oferta formativa em vigor no país, que dispõe de componentes curriculares que abordam questões relacionadas a estas noções. Entretanto, sinalizamos para a importância de pensarmos a gestão desde uma perspectiva museológica, que dialoga com as dimensões teóricas e práticas do campo, contribuindo para a consolidação da Teoria Museológica e para a conformação daquilo que Maria Cristina Oliveira Bruno (2015a) identifica como olhar museológico - olhar este que se fundamenta em contraposição às visões fragmentadas e tecnicistas que tendem a compreender as experimentações no campo de modo compartimentado, o que impossibilita o entendimento de sua totalidade dentro de uma perspectiva processual. / The offer of courses in Museology in universities has expanded significantly in the last two decades in Brazil. If until the early 2000s the country had only two active bachelor\'s degrees courses -the Federal University of the State of Rio de Janeiro (UNIRIO) and the Federal University of Bahia (UFBA) -today there are currently registered in the Ministry of Education (MEC) sixteen courses connected to this area of training, which evidences the dynamization and growth of the museological sector in the Brazilian scenario. Nonetheless, this process of the expansion of the perspectives on professional training raises a number of issues and challenges and should be the subject of analyzes that contribute to the proposal of common guidelines for professional training, aiming to strengthening the disciplinary field of Museology. Therefore, in order to contribute to the discussions focused on training in the area -mainly in relation to the teaching of management and planning concepts from the perspective of this discipline -the present research had the purpose of mapping the profile of the training offer that characterizes the bachelor courses in Museology currently in operation and, more specifically, to verify how the ideas of management and planning appear in the curricula of the same courses. For its development, we use qualitative methods of analysis, such as a bibliographical survey on the consolidation of Museology as an independent disciplinary field and on the trajectory of teaching in the area within the Brazilian context; besides the consultation of the national guidelines for training in the area and the pedagogical programs of the courses, with their respective curricular matrices and courses of the disciplines. The systematization and subsequent analysis of the data allowed us to identify that there has been progress in the field of professional training at the undergraduate level in Museology in Brazil, not only in quantitative terms, but also in qualitative terms, which undoubtedly has contributed to the consolidation of this disciplinary field. With regard to management and planning, the protagonism achieved by these themes in the museological universe has made us nowadays treat it as a function of the museum, in addition to the traditional functions of preservation, research and communication (DESVALLÉES; MAIRESSE, 2013). In fact, this centrality is reflected in the configuration of the training offer now operated in the country, which has curricular components that addresses issues related to these notions. However, we point out the importance of thinking about management from a museological perspective, which dialogues with the theoretical and practical dimensions of the field, contributing to the consolidation of the Museological Theory and to the conformation of what Maria Cristina Oliveira Bruno (2015a) identifies as a museological view(olhar museológico) -which is based in opposition to the fragmented and technicist visions that tend to understand the experiments in the field in a compartmentalized way, which makes it impossible to understand its totality in a processual perspective.

Troublée par l’avènement inopiné de la mode au musée, nous avons souhaité cerner puis examiner les fondamentaux du « musée de la mode », que nous considérons comme un concept historique. Depuis les années 1990, il s’impose en effet dans la sphère culturelle comme un nouveau modèle de musée. Nous nous questionnons donc sur le phénomène qui sous-tend cette effervescence. S’il fait son apparition dans les années 1980, il est issu d’une forme muséale plus ancienne que l’on désignait alors par « musée du costume ». Nous entendons ainsi mener une enquête sur le « musée de la mode » par la saisie de l’essence du phénomène muséal observable. Pour ce faire, il nous faut nous inscrire dans un temps long du patrimoine, afin de montrer les conditions d’émergence et la trajectoire des collections vestimentaires dans le paysage muséal et le développement des différentes formes muséales, du premier musée du costume au musée de la mode d’aujourd’hui. Alors que, jusqu’à présent, les chercheurs ont déterminé un basculement entre la dress museology et la fashion museology autour de 1970, nous avons distingué quatre régimes d’investissement patrimonial des collections vestimentaires, aboutissant à l’ère du « musée des modes vestimentaires ». Notre thèse a pour objectif de mettre en exergue la trajectoire du vêtement au musée, et de détailler les caractéristiques de la muséologie en devenir : décloisonnement des collections, expositions transculturelles, discours transversal et interdisciplinaire, et pour finir, muséographie anthropologique. / Curious about the unexplained advent of the fashion museum, this study originated with the task of identifying and examining the basic characteristics of the “fashion museum,” which it considers to be a historically specific construct. Since the 1990’s, the fashion museum has asserted itself in the cultural world as a new model of museum. This study inquires into the phenomena that undergirded this flourishing. If this institution first appeared in the 1980’s, it originated from an older model known as the “costume museum”. Thus I intend to undertake a study on the “fashion museum” using the observable phenomenon of the museum itself. To do so, this project inscribes the “fashion museum” in a long patrimonial tradition, demonstrating the conditions of its emergence and the trajectory that dress collections followed within the broader museum landscape, including the development of other forms of museums, from the first “costume museum” to the fashion museum of today. While, until now, researchers have determined a turning point between the dress and the fashion museology in the 1970’s, I distinguish four regimes of heritage investment in clothing collection, result in edge of a museology of the vestimentary patrimony. This study aims to reveal the trajectory that dress collections followed within the broader museum landscape, and to explain the characteristic of a museology in the making: decompartmentalization of collections, transcultural exhibitions, tranversal and interdisciplinary discourse, and anthropological museography.

As an academic discipline, the earth sciences generate, use, and retain vast quantities of objects. This ‘material archive’ exists, first and foremost, as a functional scientific resource; the objects that it contains were never intended to express culture. Since the earth sciences rely heavily on claims that its objects of study remain the same as they were in nature, it follows that the specimens contained in university earth science collections are treated as objective scientific evidence. In this sense, the material that is collected, used and retained by earth scientists may appear to be devoid of culture – passive, inert and neutral.This thesis sets out to challenge these assumptions by treating university earth science objects and collections as material culture. In material culture studies, geological materials appear in a variety of different forms and contexts, however, such work has tended to focus on either their occurrence in the landscape, or their use as raw materials from which objects are made. Thus, while the earth sciences provide an abundant source of ‘material’ for material culture studies, rarely (if at all) do they seem to provide the culture. Furthermore, while the treatment of ‘natural’ objects as cultural artefacts has become increasingly popular in museology, much of this work has concentrated on the processes and practices that are enacted on these things in museums. Museology has therefore tended to consider these things in what effectively corresponds to their retirement, meaning that with few exceptions, little attention has been paid to their active use as functional scientific objects. This research explores the implications of treating university earth science objects and collections as material culture through the empirical investigation of contemporary object-related practices in UK earth science departments and university museums. As such this thesis addresses questions surrounding the relevance of existing theories and methods, in both material culture studies and museology, for exploring natural scientific objects and collections. These questions are approached through four thematic chapters concerned with the coming into being of earth science objects, their transformation into collection items, their functions, and their mobility.

Cette thèse interroge ce en quoi le musée constitue une clef de développement de la fabrique & de la communication de l'histoire. Nous observons que l'historien-ne se confronte à des dilemmes communicationnels: retranscrire l'insaisissable passé au monde présent ; résoudre le paradoxe historiographique de la mise en relation du réel & du discours. Notre proposition consiste à transposer au musée ces problématiques communicationnelles historiennes. Voici le troisième dilemme : faire de l'histoire renvoie à l’écriture tandis que dans la société postmoderne où nous vivons, les images ont de plus en plus remplacé les textes écrits comme forme culturelle dominante.Le musée pose la question de la représentation du passé. Nous présentons un travail de modélisation muséale de l'opération historiographique. Les mouvements de production & de communication de l'histoire au musée nous orientent vers les principes de l'histoire publique & vers des questions esthétiques. Nous explorons l'hypothèse conceptuelle d'une esthétique de l'histoire, dispositif sensible, social & agissant dont le musée d'histoire participe. Après des démarches exploratoires d'observation participante, nous entreprenions une enquête qualitative. Suite à cette campagne de témoignages, nous avons développé sous LaTeX un programme de moissonnage thématique des données. Les résultats abordent : 1) les dispositifs, fonctionnements & vies des musées visités ; 2) l'histoire des musées d'histoire ; 3) une stylistique de l'histoire ; 4) l'idée d'esthétique de l'histoire. La principale originalité de cette thèse vient des jalons qu'elle pose à une réflexion sur le concept nouveau d'esthétique de l'histoire. / This thesis interrogates the key role of museums in the development of the fabrics of history and in his communication. We make the observation that the historian is subjected to communicational dilemmas: to retranscribe the imperceptible past to the contemporary world; to solve the historiographic paradox linkage of the actual and the discourse. Our suggestion consists in moving the historical communication problems to the museum. Here the third dilemma: to make history sends one back to writing, whereas in the postmodern society in which we live, images have increasingly been replaced by the written word as a dominant cultural form.The museum rises the issue of the representation of the past. Thus, we present a work of museum modelling of the historiographical operation. The production and communication movements of history in a museum orients us towards the principles of public history and towards æsthetic questions. Hence, we explore the conceptual hypothesis of an historical æsthetics, a sensitive, social and active system in which a museum can participate. Following the exploratory process of participative observation, we initiated a qualitative survey. After this extensive data acquisition campaign, we developed a programme based on the LaTeX type setting system, for sorting data by topics. The results enabling us to develop: 1) the systems, the functioning and the operation of the museums visited; 2) the history of museums of history; 3) the stylistics of history; and 4) the idea of æsthetics of history.The originality of this thesis gains its interest to establishing a foundation for a reflection about the new concepts of the æsthetics of history.

Magister Artium - MA / Through a grant from the Atlantic Philanthropies Foundation the District Six Museum Foundation Trust purchased the Sacks Futeran buildings in 2002 with a view to creating new spaces of engagement that worked with exhibitions, issues of social justice and District Six returnees. The Futeran family, as a gesture of philanthropic donation, sold the building below market value thus enabling the museum to take ownership. This related directly to civic public giving that the work of the District Six Museum entails and was consistent with an understanding of community museums. Acquiring, transforming and museumising the set of five interconnected Sacks Futeran buildings to create the District Six Homecoming Centre has influenced and extended the notion of civic public giving in the museum work of the District Six Museum in relation to District Six returnees and the public. The examination of a history in and through buildings and more specifically the transformation in use, design, purpose and naming in this complex of buildings associated with a family business, E. Sacks Futeran & Co., is the purpose of this research. The oral histories of Martin and Gordon Futeran reveal the origins of their family wholesale clothing and fabric business established in 1906 by their great grandfather Elias Sacks and by extension the Jewish histories of District Six. The apartheid denial of ‘home’ within the Cape Town city bowl, resulting in forced removals of the inhabitants of District Six and the formation of the District Six Museum as a transactive community museum model on the heritage landscape of post-apartheid South Africa is examined. With reference to architectural materiality, the set of buildings as transitional space is ‘mapped’ as it has become the Homecoming Centre of the District Six Museum.Rennie Scurr Adendorff Architects blended older histories of the site with architectural aesthetic and technical expertise, and the Museum’s visions, philosophies and concepts were an integral part of the redevelopment. Over a number of years the Sacks Futeran buildings were restored and internally reconfigured and have been developed to dovetail with existing methodologies supporting the broader land restitution process. Through its spaces, a museum community is being nurtured by means of activism, notions of citizenship transforming District Six, the city and community museum practice in the process. The Fugard Theatre is an integral part of the Homecoming Centre and these buildings are experienced as a multi-functional cultural landmark within the District Six Cultural Heritage Precinct. By harnessing memory and materiality this study is relevant as a means of constituting historical urban fabric and a sensitivity of reconstructing a sense of place.

Art museums still have an essential role, both for the art world and the wider society. This thesis deals mainly with their transformation and challenges they have to face in relation to contemporary society. It focuses on the development of museums, the transformation of values they embody and also on changes in normative expectations in conjunction with them. The paper also discusses the role of museums with increasing emphasis on their educational role, because this role could help museums to succeed in their current efforts to open to the wider audience. Today, these attempts to democratize represent crucial task of art museums. These efforts, however, depend on the concept of aesthetic taste which the paper also deals with. To be successful, it is desirable to view taste as a skill that can be cultivated through education. Since those who influence success in this field are museum professionals, this work deals also with their position within the museums and the art world and the strategies which are used by them. The fundamental shifts in art museums and their responses to the demands of the public occurred as a result of institutional critique that began in the 60's of last century. The new museology, critical curating and relational aesthetics can be included under this trend. As these...

Le 10 octobre 2007, le premier musée de l'immigration en France ouvre enfin ses portes après moult années de militantisme de la part des associations et des universitaires et une prise de conscience progressive des pouvoirs publics. Cette nouvelle institution, qui bénéficie du rare statut juridique de musée national, intitulée musée national de l'histoire et des cultures de l'immigration s'insère dans le cadre d'une structure organisationnelle qui dépasse le simple cadre du musée, la Cité nationale de l'histoire de l'immigration, un établissement pluridisciplinaire sous la quadriple tutelle des ministères de la Culture, de l'Education, de la Recherche et de l'Intégration. L'objet de notre thèse consiste à déterminer comment s'opère la construction médiatique des identités du musée national de l'histoire et des cultures de l'immigration. Cette analyse commence par une interrogation sur les outils conceptuels intéressants pour ce sujet. A partir du postulat d'aborder le musée comme espace de communication symbolique (Davallon, Schiele, Lamizet, Dufrêne, Regourd), elle envisage les préalables épistémologiques des sciences humaines et sociales, l'identité comme construit (Claude Lévi-Strauss) et l'identité narrative (Paul Ricoeur), les fondements en muséologie (les modèles muséologiques) et en médiation culturelle (les notions de dispositif de médiation et d'espace public). Notre analyse se poursuit par une étude de la superposition des médiations selon les différentes temporalités du musée, celle du musée imaginé (les récits de l'utopie au travers des documents préparatoires) et celle du musée réalisée (médiation architecturale, muséographique, du site), ce qui nous amène à une interrogation sur les conflits des médiations à l'œuvre au sein du musée tant du point de vue de la forme que du fond : récit colonial et récit républicain, récits historiques, artistiques et anthropologiques, récits historiques et mémoriels, récit d'unité de la nation et récit de diversité du patrimoine des migrants. Le constat d'une polyphonie énonciative et d'une pluralité d'identités du musée national de l'histoire et des cultures de l'immigration nous conduit à sont tour à une réflexion sur le discours républicain à l'épreuve des mémoires et à l'émergence d'un nouveau modèle muséal : voit-on se dessiner un musée de l'innovation sociale à partir de la structure musée/réseau ? Dans quelle mesure la réflexion sur la diversité culturelle et l'interculturalité qui traverse l'espace public contemporain affecte t-elle le musée à l'heure de la mondialisation ? Peut-on parler de l'émergence d'un prototype muséal hybride entre musée républicain et musée de voisinage, universalisme et communautarisme ?