Thesis (M.S.)--University of Delaware, 2006. / Principal faculty advisor: James E. Swasey, Dept. of Plant & Soil Sciences. Includes bibliographical references.

<p><font face="Times New Roman"> <p align="left">This mini-thesis seeks to interrogate the interplay between memory and documentation in the process of exhibition-making by a looking at the preparation for and mounting of the exhibition, Museum. This will be achieved by looking at the institutional methodologies employed by the Museum in dealing with ex-residents of District Six, their memories and artefacts in the heritage practice of a Museum as a forum. This practice was put into effect as the District Six Museum engaged ex-residents of other locations of removal.</p> </font></p>

The purpose of this paper has been to shed light on the ways the history represented at the City Museum of Stockholm can be used in education at the Gymnasia level. I have made use of the following set of questions to attain this purpose: 1) How is the City Museum's activity vis-á-vis the gymnasia organized and what is the purpose of this activity? 2) What positive results do the interviewees see in the collaboration between the schools and the Museum? 3) Why did the teachers represented in this paper choose to make use of the Museum in their education? The bulk of the study is based upon three interviews with the First Curator at the City Museum of Stockholm and two teachers, from Viola Gymnasiet and Skogsgårds Gymnasiet respectively. My method is qualitative and interpretative with hermeneutic features. In my interpretation of the source material I have made use of historian Klas-Göran Karlsson's classifications regarding the needs for various forms of history, use of history, users and functions of results. In this way I have been able to establish how the Museum and the teachers represented in the study make use of the history that is represented at the Museum. The Museum and the teachers both use history according to their needs to reconstruct and discover, the latter represented by the research undertaken by the Museum. Hence, it is a scientific usage. The parties also have a need illustrate, make public, and debate; and in this way to make pedagogic use of history. The Museum also makes commercial use of history, which means it is in their interest to increase the value of history.

This thesis investigates the part-to-whole relationship in architectural and urban design, and the dialectic that exists between the conceptual and the perceptual in the built environment. Working with Gestalt principles and traditional architectural conventions, this projects seeks a greater understanding of how basic graphic relationships enhance our perception of the built environment, in order to find new ways in which architecture can respond to the contemporary city. This project is located in Seoul, Korea, a city currently lacking a contemporary architectural identity. It is a city of multiplicity but no coherence, and this thesis seeks to understand how the dynamic relationship between parts in the built environment can encourage greater unity at the scale of architecture and the city.

This thesis is a study of the changing model of the local history museum in Ontario, Canada and the consequential changing interpretations of the past in these institutions. <br /><br /> Beginning in 1879, local history museums in Ontario developed largely from the energies of local historical societies bent on collecting the past. While science museums used taxonomy and classification to mirror the natural state of the world, history museums had no equivalent framework for organizing collections as real-world referents. Often organized without apparent design, by the early 20th century a deductive method was used to categorize and display history collections into functional groups based on manufacture and use. <br /><br /> By the mid-twentieth century an inductive approach for interpreting collections in exhibits was promoted to make these objects more meaningful and interesting to museum visitors, and to justify their collection. This approach relied on the recontextualization of the object through two methods: text-based, narrative exhibits; and verisimilitude, the recreation of the historical environment in which the artifact would have been originally used. These exhibit practices became part of the syllabus of history museum work as it professionalized during the mid-twentieth century, almost a full century after the science museum. In Ontario, recontextualizing artifacts eventually dominated the process of recreating the past at museums. Objects were consigned to placement within textual storylines in order to impart accurate meaning. At its most elaborate, artifacts were recontextualized into houses, and buildings into villages, wherein the public could fully immerse themselves in a tableau of the past. Throughout this process, the dynamic of recontextualization to enhance visitor experience subtlety shifted the historical artifact from its previous position in the museum as an autonomous relic of the past, to one subordinate to context. <br /><br /> Although presented as absolute, the narratives and reconstructions formed by these collecting and exhibiting practices were contingent on a multitude of shifting factors, such as accepted museum practice, physical, economic and human resources available to the museum operation, and prevailing beliefs about the past and community identity. This thesis exposes the wider field of museum practice in Ontario community history museums over a century while the case study of Doon Pioneer Village shows in detail the conditional qualities of historical reconstruction in museum exhibits and historical restoration.

This qualitative study defined the hermeneutic approach as a strategy for developing museum education programs, and examined its implementation in two museum settings. A hermeneutic research methodology was used to design, interpret, and explain the hermeneutic approach to museum education program development and its implementation by two museum educator research participants, a codeveloper and an implementer. Four sequential stages comprised the study that addressed the following questions: What is the hermeneutic approach to museum education program development? How does the hermeneutic approach to museum education program development work? What does the hermeneutic approach to museum education program development offer to museum educators? In Stage One, elements of hermeneutics, curriculum theory, pedagogy, and museology were drawn from a review of the literature to define the hermeneutic approach. The hermeneutic approach was aligned to an interpretive curriculum theory paradigm. After establishing its theoretical foundation, the hermeneutic approach was diagrammed as a template for guiding the development of museum education programs that included the following components: curriculum topic, museum's mandate, storyline, themes, artifacts, and program: pre-understanding, meaning in-context, connectedness, process, experience, and communication. Stage Two continued with the introduction of the co-developer, a seasoned museum educator who assisted in refining the hermeneutic approach template by piloting its implementation in the development of a museum education program. Insights gained from this stage were used to modify the hermeneutic approach for Stages Three and Four of the study. The hermeneutic principles of pre-understanding, meaning-in-context, connectedness, process, experience, and communication were used as a format for conducting a workshop to teach the hermeneutic approach to seasoned and novice museum educators in Stage Three. According to the study's design, the Stage Four museum educator implementer autonomously developed a museum education program using the hermeneutic approach. A back and forth interplay between the experiences of the co-developer in Stage One and the implementer in Stage Four was mediated by the researcher to examine the template and its components. Results of the study indicate that the hermeneutic approach forces museum educators to move away from an objectives-based program planning strategy, thus redefining the role of artifact interpretation.

Denna fallstudie sätter fokus på hur pedagoger i skolans värld och kulturens värld upplever samarbetet dem emellan. Den empiriska undersökningen består av intervjuer genomförda med pedagoger från de båda grupperna. Vad gäller skolan har vi riktat in oss på pedagoger som arbetar med de äldsta barnen i förskolan, och upp till mellanstadiet. Museipedagogerna arbetar i verksamheter med inriktning mot lokalhistoria och konst. Vid intervjuerna framkom att samarbetet ser väldigt olika ut och att det ofta är upp till pedagogerna själva i vilken grad de samarbetar och drar nytta av varandra. Museipedagogiken har gått från att till största delen handla om förmedlande av kunskap till att alltmer fokusera individernas deltagande. Ett deltagande där upplevelsen och det aktiva handlandet sätts i fokus. Ett sådant arbetssätt är just vad många lärare eftersträvar idag, och därför är det konstigt att samarbetet institutionerna emellan inte är större. Vårt resultat pekar mot att hindren till viss del handlar om en skillnad i pedagogik, och syn på kunskap, men mera om bristande kunskap om varandra, brister i förberedelse och uppföljning, samt organisatoriska och ekonomiska hinder. Kan ett samarbete komma till stånd så gagnar det såväl elever och skola som kulturinstitutionerna, det var alla överens om.

Abstract Among advanced countries, such as in the US, West Europe, and Japan, attending artistic activities have long been the daily life of ordinary people. It is also prevalent of businesses in these countries to sponsor artistic activities or art institutes, through which businesses can feed back society and enhance their company images. In Taiwan, it has been a history for decades of enterprises sponsoring artistic activities and collecting arts. The traditional sponsorship of art originated from the friendships between business owners and artists or business owners¡¦ collection of artistic works. The corporate sponsorship of art in Taiwan can date back to Japanese Occupation (A.D. 1895~1945). In Japanese colonial days, Tai-chung entrepreneur, Zao-Jia Yang, was a renowned art supporter to island-wide artistic activities. During Yang¡¦s younger days, possessed with strong Taiwanese Awareness and literary penchant, he co-funded, with Pei-huo Tsai, the construction of Tai-Yang Fine Art Association. This famous fine art association had encouraged well-known painters of older generation like Shih-Chiao Lee¡BMei-shu Lee¡BCheng-Po Chen¡BChi-Chun Liao¡BSan-Lang Yang¡BShui-Long Yen to fully develop their talents, and pioneered the modern arts in Taiwan at then. Mr. Zao-Jia Yang could be deemed as the guardian god of early Taiwanese artists. Yang¡¦s followers like Mr. Pao-Thou Lin, former Chairman of Taiwan Cement Corporation¡BMr. Chen-fu Koo, former Chairman of Straits Exchange Foundation and Mr. Wen-Lung Hsu, the founder of Chi-Mei Corporation, and etc., have all contributed greatly to local artistic activity fund raising and arts collection in the past decades. To gain a better understanding on various types and paradigms of corporate sponsorship of artistic activities and arts collection, this study focus on the study of Chi-Mei Corporation, in hope that we could advocate the interaction between arts and businesses through deep interview and comprehensive analysis on the creation of Chi-Mei Museum. Through analysis,it is obvious that: Arts are no more the privilege or captive of the rich, enterprises through the operation of their funds or museums can assist academics, artists, and more ordinary people exposure to arts, thereby expanding art population as well as fulfilling the social obligation and citizenship of enterprises. Meanwhile, the resulting ideal economic environment will benefit enterprises themselves. Enterprises should treat arts investment in the same way with regular profitable business operations. The invisible arts value will have economic benefits from all sides. Aside from acknowledging that enterprises are an efficient private factor to promote government policy, government should recognize the essence of nation competitiveness¡Xthe substance of its people including culture development as well as academic credential and economic strength. The present pan-politics environment is against culture development. Government should expedite of legislation of Museum Law and related stipulations improvement to help private museum operation. If art collections are concealed from the public as treasures, the collections are preserved for its own value. The construction of private museum is necessary. It can play complementary role to public museum. According to David Throsby, art collector can be traced by their aesthetic value, spiritual value, social value, historical value, real value, i.e., a series of cultural characteristics, to study the arts collection behavior. Through the beauty, harmony, race uniqueness of artistic works, it helps human understanding of social substance, identity. It also helps reflect the status quo of a society. Artistic works convey meaning of itself and the culture valuation and symbolism of arts collectors. From the above perspectives, the author thinks that arts collection is an extreme passion for human spirit and culture. The difficulties of running private museum should not prevent us from encouraging its setup. According to Bruno S. Frey, investments on arts are tax avoidance in many countries. Although it is a truth known to the public, the tax incurred from owning art works is seldom treated in related study. It is impossible to neglect tax when calculating the profits. In different countries and time, taxation is various. Perfect arts collection, in author¡¦s opinion, aside from fond of arts, and need intellectual tactics more of financial strengths, market information, knowledge, aesthetic taste, and ideal seeking. Therefore, arts investment and its taxation leave ample room for successor to study further.

Proefschrift--Letteren--Universiteit Leiden, 2003. / Bibliogr. p. 240-251. Index.

Texte remanié de: Diss.--Altertumwissenschaft--Berlin--Freie Universität, 1994. / Bibliogr. p. 195-205. Index.