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.

In Western Europe during the sixteenth and seventeenth centuries, collections were created as repositories of art, technology, ethnographic curiosities and natural wonders. Collecting first became a widespread practice among Italian humanists of the late Renaissance who, influenced by the work of Pliny, were driven by the desire to understand the world through the acquisition of universal knowledge. The physical configuration of such encyclopedic projects could be found in the museums created to organize and assimilate the explosion of knowledge experienced during this period.This thesis addresses the social significance of accumulating an encyclopedic collection in the form of a large, public art museum at the turn of the twentieth century, discusses the Rudolfine Kunstkammer contextualized in a broad history of collecting prior to and including the Renaissance and compares the Metropolitan Museum of Art to the Kunstkammer in terms of how similarly or differently the collections communicated a combination of political, social, economic and cultural power.

This thesis analyzes the educational function of art museums, how education in art museums evolved and how an art museum can conduct an educational mission. The concept of the material collections as the educative origin of art museums will be discussed alongside the history of collections in Europe. In addition to the concept of collection, the importance of educational programmes of art museums will be highlighted. Having derived a general notion of the educational function of art museums, the thesis will seek to answer questions such as how museology evolved in Turkey and whether the turkish museology has an educational concern. In accordance with these questions two turkish contemporary art museums will be investigated as case studies.

The text investigates the history of the Canterbury Museum’s collection of Japanese ukiyo-e prints and paintings focusing mainly on four major contributors: Sir Joseph Kinsey (1852-1936), Frances May Bailey (c.1891-1967), Greggory Kane (1921-1978) and Ronald J Scarlett (1911-2002). The images are set in the context of the ‘floating world’ (ukiyo). The introduction examines the early directors of the Museum and how their interests and policies influenced the collections. The method of grading the prints and the process by which the data base was formed are explained. Chapter One examines the way New Zealand was influenced by a growing interest in Japan during the early twentieth century, the effects of Japanese activity in the Pacific and the way the collectors responded. It also looks at the local cultural context in which the collectors acquired and exhibited their works. Exhibitions of Japanese and Chinese art occurred in 1935 and 1952 in Christchurch; such events widened the knowledge and aesthetic appreciation of Asian art. Chapter Two considers the subjects, scope, and range of ukiyo-e art and the artists represented in the Museum’s collection. It looks at the condition of the images, how they were made, the formats used, and whether they were printed from original or recut blocks. Japanese Government censorship and works of particular interest are discussed. Comparisons are made with the Dunedin Public Art Gallery’s and Auckland Art Gallery’s collections. Works by major artists including Hiroshige (1797-1858), Hokusai (1760-1849), Eizan (1787-1867), Eishi (1756-1829), Chikanobu (1838-1912), Toyokuni I (1769-1825), Kunisada (1786-1864) and Kuniyoshi (1798-1861) are evaluated. By reconstructing the collections of Japanese art in the Museum, the chapter reveals the collectors’ diverse interests and individual preferences. The research presented in this discussion stems from an extensive study of the 427 images in the collection and is supported by an illustrated database of all the Museum’s ukiyo-e works.

This study is based on the catalogue/checklist of Pierneef works in the Pretoria Art Museum collection. The artist’s life, social, political and artistic influences of the period, both local and international, may be deduced from works analysed and discussed. The Arts and Crafts movement was a powerful influence affecting ideas on national identity, folk art and the vernacular from the middle of the nineteenth century onwards. A world-wide romantic nationalism stimulated a search for identity and exploitation of the indigenous. It is argued that these trends may be identified in the artistic development of Pierneef who, through friends, wide reading and intensive study was alive to European developments but focused on the indigenous arts of Southern Africa. He was the first South African artist to recognize Busman art and that of the black peoples. They had a profound influence on his own development and the motifs of his art. / Dissertation (MA)--University of Pretoria, 1997. / Historical and Heritage Studies / unrestricted

This master thesis is concerned with the topic of deaccessioning from public art museums in the Czech Republic. This practice is almost never carried out due to high legal restrictions and very demanding administration. Nevertheless, deaccessioning is becoming common practice in other European countries such as United Kingdom or the Netherlands. The goal of the thesis is to suggest main topics in the hypothetical regulation of deaccessioning in the Czech Republic considering the current theoretical framework, already conducted research and newly conducted research within this thesis. The latter is open coding analysis of guidelines on collection deaccessioning made by United Kingdom Museum Association. The main conclusions are that a few topics should be subject to regulation. Firstly, the reason to dispose (either economic or other), secondly, the acceptable use of the income from deaccessioning, thirdly, decision making process and supervision. At last, selection of collection or items to be disposed and question of new collection owner should be solved.

Was geschieht im Museum hinter den Kulissen? Warum wird manches gesammelt, aber anderes nicht? Museen sind der sichere Ort für das Bewahren des gesellschaftlichen Gedächtnisses, aber auch der ganz persönlichen Erinnerung an vergangene Zeiten. Zahllose Objekte in den Ausstellungen und Magazinen können Auskunft über die Vergangenheit geben – oder etwa nicht? Das Stadtmuseum Wittenberge begab sich gemeinsam mit der Universität Würzburg und vielen weiteren Gedächtnisinstitutionen im Themenjahr „Schatz oder Schrott?“ auf eine spannende Spurensuche in eine selten beleuchtete Welt der Identitätsbildung zwischen Erinnerungsankern und Dachbodenplunder mit Entscheidungszwängen zwischen Schädlingsbefall und übervollen Depots. Lernen Sie die verborgene Seite unserer Museen kennen!:Susanne Müller-Bechtel, Marcel Steller Zum Geleit S. 7 Marcel Steller Ein Jahr in eigener Sache S. 14 Marcel Steller „Damit hätte ich nicht gerechnet!“ S. 22 Ein- und Ausblicke zur Sonderausstellung „Schatz oder Schrott?“ Anja Pöpplau Die ganze Welt im Depot? S. 36 Von einer Überlebenstechnik zur Identifikationsproblematik Carola Lembke Herausforderungen im Kommunalarchiv S. 46 Wie arbeitet das Stadtarchiv Wittenberge? Katharina-A. Zimmermann Wege ins Museumsdepot – vom vergessenen Ort zum Großprojekt S. 54 Wegemuseum Wusterhausen/Dosse Elena Büchel Präventive Konservierung S. 64 Wie erhält man eine Zeitung? Jana Hauguth Schädlinge im Depot und der Umgang mit ihnen S. 74 Andrea Wieloch (Ent-)Sammeln aus Verantwortung S. 84 Marcel Steller Zwischen Nähmaschinen und Nagetieren S. 89 Einblicke in das Sammeln des Stadtmuseums Wittenberge Irena Berjas Depotsituation im Modemuseum Meyenburg S. 99 Ein Kurzbericht Julia Zehnder Pompeii Premise und Diorama-Drama S. 102 Die Ausstellung früherer Lebenswelten zwischen historischer Wirklichkeit und bewusster Illusion Nadine Schneider Fräulein Kunigunde, der Elfenbeinturm und Omas Jägerschnitzel S. 111 Immaterielles Kulturerbe im Stadtmuseum Wittenberge Jens Czoßek und Friederike Koch-Heinrichs Kritisch Sammeln S. 125 Die geowissenschaftliche Sammlung am Museum der Westlausitz Kamenz Susanne Köstering Sammeln im Kontext S. 131 Digitale Sammlungsnetzwerke in Brandenburg Nicole Schuler Wie viele Nähmaschinen braucht das Stadtmuseum Wittenberge? S. 135 Über die Wertigkeit von Massenprodukten und die „Aura“ des Virtuellen Susanne Müller-Bechtel Objekte als Prisma der Stadtgeschichte – S. 147 zum Bündeln und Auffächern von Ansichten und Blickwinkeln Julia Paukert Eine Kaffeekanne – Schatz oder Schrott? S. 153 Ein Einblick in die Kompensationstheorie von Odo Marquard und Hermann Lübbe Malte Kirchhof Sammlungsgut als kollektive Erinnerungsanker S. 163 Andreas Wieland „Trauern, Erinnern, Weitergehen“ S. 172 Erinnerungskultur im Alltag Regina Reisinger Gesellschaftsorientierte Provenienzforschung als Utopie? S. 176 Ein soziomuseologischer Blick auf Provenienzforschung in Stadt- und Regionalmuseen am Beispiel des Stadtmuseums Wittenberge Lennart Gütschow (K)ein Museum ohne Sammlung? S. 184 Das Ludwig Erhard Zentrum in Fürth Susanne Lehmann Holt die Dinge aus den Schränken! S. 190 Unsere Autorinnen und Autoren S. 192 Glossar S. 195 Im Überblick S. 203 Das Themenjahr 2023 „Schatz oder Schrott?“ im Stadtmuseum Wittenberge Digitale Publikationen des Stadtmuseum Wittenberge S. 207 / What happens behind the scenes in the museum? Why are some items collected and other items are not? Museums are a safe place for the preservation of social memory as well as personal memories of times gone by. Countless objects in exhibitions and storage rooms can provide information about the past – or perhaps not? Together with the University of Würzburg and many other experts on preservation and cultural heritage, the Stadtmuseum Wittenberge has embarked on an exciting search for answers in the theme year “Treasure or Trash?”. Delve into the rarely explored realm of historical identity formation, sort out memory anchors and attic junk and navigate issues such as pest infestations and overflowing depots. Join us on a journey through the hidden side of our museums!:Susanne Müller-Bechtel, Marcel Steller Zum Geleit S. 7 Marcel Steller Ein Jahr in eigener Sache S. 14 Marcel Steller „Damit hätte ich nicht gerechnet!“ S. 22 Ein- und Ausblicke zur Sonderausstellung „Schatz oder Schrott?“ Anja Pöpplau Die ganze Welt im Depot? S. 36 Von einer Überlebenstechnik zur Identifikationsproblematik Carola Lembke Herausforderungen im Kommunalarchiv S. 46 Wie arbeitet das Stadtarchiv Wittenberge? Katharina-A. Zimmermann Wege ins Museumsdepot – vom vergessenen Ort zum Großprojekt S. 54 Wegemuseum Wusterhausen/Dosse Elena Büchel Präventive Konservierung S. 64 Wie erhält man eine Zeitung? Jana Hauguth Schädlinge im Depot und der Umgang mit ihnen S. 74 Andrea Wieloch (Ent-)Sammeln aus Verantwortung S. 84 Marcel Steller Zwischen Nähmaschinen und Nagetieren S. 89 Einblicke in das Sammeln des Stadtmuseums Wittenberge Irena Berjas Depotsituation im Modemuseum Meyenburg S. 99 Ein Kurzbericht Julia Zehnder Pompeii Premise und Diorama-Drama S. 102 Die Ausstellung früherer Lebenswelten zwischen historischer Wirklichkeit und bewusster Illusion Nadine Schneider Fräulein Kunigunde, der Elfenbeinturm und Omas Jägerschnitzel S. 111 Immaterielles Kulturerbe im Stadtmuseum Wittenberge Jens Czoßek und Friederike Koch-Heinrichs Kritisch Sammeln S. 125 Die geowissenschaftliche Sammlung am Museum der Westlausitz Kamenz Susanne Köstering Sammeln im Kontext S. 131 Digitale Sammlungsnetzwerke in Brandenburg Nicole Schuler Wie viele Nähmaschinen braucht das Stadtmuseum Wittenberge? S. 135 Über die Wertigkeit von Massenprodukten und die „Aura“ des Virtuellen Susanne Müller-Bechtel Objekte als Prisma der Stadtgeschichte – S. 147 zum Bündeln und Auffächern von Ansichten und Blickwinkeln Julia Paukert Eine Kaffeekanne – Schatz oder Schrott? S. 153 Ein Einblick in die Kompensationstheorie von Odo Marquard und Hermann Lübbe Malte Kirchhof Sammlungsgut als kollektive Erinnerungsanker S. 163 Andreas Wieland „Trauern, Erinnern, Weitergehen“ S. 172 Erinnerungskultur im Alltag Regina Reisinger Gesellschaftsorientierte Provenienzforschung als Utopie? S. 176 Ein soziomuseologischer Blick auf Provenienzforschung in Stadt- und Regionalmuseen am Beispiel des Stadtmuseums Wittenberge Lennart Gütschow (K)ein Museum ohne Sammlung? S. 184 Das Ludwig Erhard Zentrum in Fürth Susanne Lehmann Holt die Dinge aus den Schränken! S. 190 Unsere Autorinnen und Autoren S. 192 Glossar S. 195 Im Überblick S. 203 Das Themenjahr 2023 „Schatz oder Schrott?“ im Stadtmuseum Wittenberge Digitale Publikationen des Stadtmuseum Wittenberge S. 207

Det övergripande målet för detta arbete ligger i att utveckla samarbetet mellan aktörerna i det uppdragsarkeologiska verksamhetsfältet, i syfte att optimera urvalet och användningen av de ting som genereras och blir till ett kulturarv. Tyngdpunkten i licentiatuppsatsen ligger på de processer och strukturer som ligger till grund för formering av samlingarna och genom vilka det arkeologiska källmaterialet får en ny identitet som musealt kulturarv. Studien tar sin utgångspunkt i följande forskningsfrågor: Hur har arkeologins utveckling till uppdragsarkeologi som ett eget fält påverkat samlingarna? Med vilka effekter? Hur påverkar kommunikation och begreppsval processflödet som förvandlar källmaterial till ett kulturarv? Med vilka konsekvenser? I studien undersöks organisationsstrukturen för verksamhetsfältet och granskas hur kommunikationsprocesser påverkar vad fältet genererar. Fyndhanterings- och värderingsprocesser analyseras utifrån organisationsstrukturella förutsättningar, den historiska utvecklingen av enskilda professioner i verksamhetsfältet, samt kommunikationen aktörerna emellan. Studien genomförs med actor-network-theory som utgångspunkt och använder ett lingvistiskt perspektiv. Den bygger på litteratur- och dokumentstudier underbyggda med en fallstudie som kombinerar en enkät med en komparativ analys över urval och gallring av källmaterial. Studien visar hur verksamhetsfältets organisationsstruktur samt kontrollen på, och uppföljning av, fyndhanteringsprocessen leder till en skev representation av ting i samlingarna, med en förvanskad syn på det förflutna som effekt. Detta förstärks av ”kulturarvsparadoxen” – motsättningen mellan mål och uppdrag, eller teori och praktik, med ursprung i en tudelad begreppsförståelse kring vad som är kulturarv och vilket syfte det tjänar. / This study aims at improving cooperation and communication between actors in the field of Swedish contract archaeology in order to maximize the benefits of their work. It addresses two research questions: How did the development of archaeology into contract archaeology as an independent business affect museum collections in Sweden? And: How do communication and terminology affect the processes that transform material culture into cultural heritage? Departing from “actor-network-theory” and taking a linguistic perspective, I first examine closely some important processes and structures behind the making of heritage. The background of contemporary contract archaeology is then illuminated through a literature study focusing on the history of and current practices in contract archaeology, conservation practice and museum management. Later, I investigate the particular effects of contract archaeology on museum collections. This is based in part on a comparative analysis of selection and de-selection processes of artefacts in collections and partly on a survey among contract archaeologists. I conclude with a discourse analysis of policies and other governing documents, highlighting the significance of communication and terminology in processes during which archaeological artefacts acquire a new identity as cultural heritage. The study shows how the contemporary system of contract archaeology creates a biased representation of (pre-)history, as selection and de-selection processes of artefacts in museum collections are affected by various internal practices and external demands that ultimately shape cultural heritage. This bias is not helped by the fact that those collecting the artefacts in the field use different terminology compared with those collecting in museums. I argue that behind this gap lies the “cultural heritage paradox” which derives from different understandings and aims of cultural heritage by different actors.

[pt] O Museu da Literatura Brasileira (MLB), idealizado por Lygia Fagundes Telles, reuniu número apreciável de documentos literários de diversos autores, mas não chegou a se concretizar como instituição e constitui uma lacuna tanto para a historiografia da literatura, quanto da museologia e da arquivologia – três áreas articuladas nesta dissertação. A massa, até agora pouco conhecida, de manuscritos, fotografias e cartas, sob a guarda do Instituto de Estudos Brasileiros (IEB) desde 1977, foi organizada em duas categorias: documento/ movimento. Na categoria documento estão os itens que comporiam a coleção do Museu; enquanto na categoria movimento encontram-se aqueles com notícias dos bastidores de seu nascimento, a partir da articulação entre Olga Savary, José Geraldo Nogueira, Almeida Fischer, Plínio Doyle e Lygia Fagundes Telles, cujo perfil de escritora importará menos que o gestora pública. Para compreender a complexidade da iniciativa de criação do Museu, o recorte temporal oferece quatro abordagens: recrudescimento da ditadura militar, consolidação de políticas de preservação, desenvolvimento dos estudos da crítica genética, e revisão dos estudos museológicos. Fontes primárias de outras instituições foram usadas como pontes, o que indica a metodologia adotada por esta dissertação, que, a partir do objeto MLB, busca repensar a noção de arquivo literário pelo tripé vínculo, comunidade e desejo, assim como a relação entre espaços da memória/pensamento. Como uma proposta de materialização do museu que não nasceu, foi criado o endereço museudaliteratura.com.br, onde estarão disponibilizados todos os itens que originalmente fariam parte da instituição. / [en] The Museum of Brazilian Literatura Collection (MLB), conceived by the writer Lygia Fagundes Telles, holds an appreciable number of literary documents from different authors, but it was never finalized as a real institution. Therefore, it constitutes a gap both for the historiography of literature, museology, and archivology – three areas articulated in this dissertation. The unknown manuscripts, photographs and letters, under the custody of the Institute of Brazilian Studies (IEB) since 1977, were organized in two categories: document and movement. The researchable items in the document category are in the Museum s collection; while there are those with news behind the scenes in the movement category, revealing a fine articulation between Olga Savary, José Geraldo Nogueira, Almeida Fischer, Plínio Doyle and Lygia Fagundes Telles. Telles will be the principal character whose profile as a writer will matter less than the public manager. To understand the complexity of the Museum s creation initiative, the time frame offers four approaches: hardening military dictatorship, consolidation of preservation policies, development of studies on genetic criticism, and review of museum studies. Primary sources from other institutions were used as bridges, which indicates the methodology adopted by this dissertation, which based on the MLB as the main object, seeks to rethink the notion of literary archive by the volition, community, and desire, as well as the relationship between memory and thought spaces. To materialize the museum that was not born, museudaliteratura.com.br was created, where one can find all the items that originally would have been part of the institution.

Estudo da formação do primeiro acervo público sistemático de arte moderna da cidade, adquirido pela Seção de Arte da então Biblioteca Pública Municipal de São Paulo, atual Biblioteca Mário de Andrade (BMA), entre 1943 e 1959, período em que Sérgio Milliet foi diretor geral da instituição e em que Maria Eugênia Franco foi diretora da Seção de Arte. Insere a instituição no contexto cultural e político de modernização da cidade e apresenta o acervo adquirido, relacionando as atividades museais que levaram à sua constituição e exposição com a atuação mais ampla dos protagonistas da instituição em prol da consolidação da arte moderna e da formação de público e artistas / This study focuses on São Paulo\'s first public collection of modern art, acquired by the Art Division of the then called São Paulo Municipal Public Library, known today as Mario de Andrade Library, between the years of 1943 and 1959. At the time Sérgio Milliet was the director of the institution and Maria Eugênia Franco was responsible for the Art Division. The investigation places this institution in the city\'s modernization cultural and political context, and presents the collection analyzing the museological activities that ensured its constitution and exposure, considering the extensive work performed by the institution\'s protagonists in favour of the consolidation of modern art and the shaping of and art public as well as artists.