Between 1768 and 1780 Captain James Cook led three epic voyages from Britain into the Pacific Ocean, where he and his fellow explorers- artists, naturalists, philosophers and sailors, were to encounter societies and cultures of extraordinary diversity. These 18th Century South Pacific encounters were rich with performance, trade and exchange; but they would lead to the dramatic and violent transformation of the region through colonisation, settlement, exploitation and disease. Since those initial encounters, museums in Britain have become home to the images and artefacts produced and collected in the South Pacific; and they are now primary sites for the representation of the original voyages and their legacies. This representation most often takes the form of exhibitions and displays that in turn choreograph and produce new encounters with the past, in the present. Drawing on Alfred Gell's term 'technologies of enchantment' my practice reconceives the structures of exhibitions as 'technologies of encounter': exploring how they might be reconfigured to produce new kinds of encounter. Through reflexive practice I critically engage with museums as sites of encounters, whilst re-imagining the exhibition as a creative form. The research submission takes the form of an exhibition: an archive of materials from the practice, interwoven with a reflective dialogue in text. The thesis progresses through a series of exhibition encounters, each of which explores a different approach to technologies of encounter, from surrealist collage (Cannibal Dog Museum) and critical reflexivity (The Hidden Hand), to a conversational mode (Modernity's Candle and the Ways of the Pathless Deep).

The present thesis investigates educational aspects of material culture, examining the I.L.E.A./Camberwell Collection as a case study for the teaching of ‘good design’ in post-war Britain from 1951 to 1977. The methodological approaches used are drawn from the disciplines of design history, material culture studies, educational theory,museology and sociology. The main objectives of the thesis aim to examine ‘good design’ as an educational project, to establish the socio-cultural contexts that produced the I.L.E.A./Camberwell Collection, to relate these contexts to the premise of ‘good design’, and to assess the Collection’s educational affordances, both historical and contemporary. In order to illuminate how the I.L.E.A./Camberwell Collection represented the didacticism of ‘good design’, the investigation locates the historical and educational roots of ‘good design’ in relation to specific time-frames and practices, especially with regards to initiatives driven by government. The thesis examines good design’s alignment to the terms ‘modern’/‘modernism’/ ‘modernity’ as these have been used within design history, and it demonstrates how signifieds pertaining to ‘good design’ change over time. I have used Bourdieu’s theory of taste-formation to investigate the extent to which the formation of taste, as identified in the project of ‘good design’, had been implemented with regards to the I.L.E.A./Camberwell Collection in order to influence social positioning and consumer choices. However, the thesis argues that the modalities of language and vision,which Bourdieusian analysis relies on, need to be extended. I have therefore considered the contribution of ‘handling’ and I have argued its importance as an educational method. The thesis shows that as education in Britain evolved from didactic models to learner-centred, coconstructiveones, the Collection’s educational pertinence shifted from the aesthetic exemplar to the handling resource. The investigation demonstrates the significance of the I.L.E.A./Camberwell Collection as a resource in itself and as paradigmatic of object-based-learning. In addition, the thesis presents a methodological example of how a poorly-documented collection may be examined, thus adding new approaches to the repository of design historical research.

My thesis is an interpretive case study of the exhibition Century City: Art and Culture in the Modern Metropolis (Tate Modern, 1 February – 29 April 2001). It examines a variety of issues pertaining to the making of institutional modern and contemporary art exhibitions in a Western urban context today. It is concerned with exhibition studies’ methodology, the reciprocity between the art institution and the city, and the relationship between the art institution and the independent curator. With regards to methodology, I propose various readings of an exhibition that fall under two types of knowledge, namely visible and invisible knowledge. The former refers to all aspects of the exhibition that are seen in the public domain, while the latter considers not immediately accessible information about the exhibition, such as archival material and oral history. I also examine the mutual relationship between the city and the institution through the instrumentalization of the exhibition by city politics, and the correlative micro and macro effects. I thus link the exhibition to a passage from an industrial to a post-industrial economy, New Labour politics and the competition of cities in a worldwide urban network. Within that framework I analyse associated issues, such as London’s urban regeneration and cultural tourism, city branding, changing city demographics, the link between the institution, the city and governmental agendas, and the ‘world city’ race. Finally, I question the changing relationship between the art institution and the independent curator. I reflect on the advantages and limitations of curatorial practice in the context of that relationship by considering the exhibition as a platform for the concurrent expression of both personal and collective curatorial interests, and the exploration of canonical versus contemporary approaches. I conclude that an in-depth study of a contemporary exhibition on these grounds allows for important insights to be gained that contribute to the fields of curatorial and exhibition studies, as well as to urban theory.

Leung Po Cheung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 131-136). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgments --- p.iii / Chapter Chapter 1 --- Introduction --- p.1 / Research Questions / Background to the research / Research site / Methodology / Chapter Chapter 2 --- Literature Review and Theoretical Framework --- p.15 / Cultural identity and its relation to the past / The museum as a place for the creation and representation of the past / The museum as a place of identity construction / Chapter Chapter 3 --- The Development of the Hong Kong Museum of History and Its Exhibitions --- p.26 / Historical development of the Museum / Structure / Missions / The permanent exhibitions / Chapter Chapter 4 --- "The Design and Construction of Identity in ""The Hong Kong Story""" --- p.47 / "Behind ""The Hong Kong Story""" / Designing the exhibition / The construction of identity in the exhibition / Conclusion / Chapter Chapter 5 --- Interpretations of the Museum Visitors --- p.68 / Visitors' general interpretations of the exhibition / Impacts of the exhibition on visitors' cultural identity / Conclusion / Chapter Chapter 6 --- Analysis: The Museum and the Construction of Identity --- p.96 / The interpretations and negotiations of identity among the Hong Kong people / The Hong Kong Museum of History as a locus of identity construction / The visitors' different museum experiences / The political nature of the exhibition / Conclusion / Chapter Chapter 7 --- Conclusion --- p.121 / Appendix --- p.130 / Bibliography --- p.131

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Aus Anlaß einer Ausstellung zum 150jährigen Bestehen des Gesang- und Musikvereins Feuchtwangen e.V. wurde die Idee eines "Fränkischen Sängermuseums" aufgegriffen. 1988 erhielt Dr. Friedhelm Brusniak vom Fränkischen Sängerbund (FSB) den Auftrag zur Ausarbeitung eines Konzeptentwurfs, bei dem allerdings der ursprüngliche Plan eines regionalen Museums für die Geschichte des Chorwesens zugunsten einer Wiedererrichtung des ehemaligen Deutschen Sängermuseums (DSM) aufgegeben wurde.

This thesis explores the history of British anthropology at the start of the twentieth century through a biographical focus on Maria Antonina Czaplicka (1884-1921). The title calls into question the marginalisation of people and processes in the history of anthropology that do not explicitly contribute to the dominant lineage of British social anthropology and offers to add depth and nuance to the narrative through analysis stemming from material sources. I use Czaplicka as a case study to demonstrate how close attention to a seemingly marginal person with an incomplete and scattered archival record, can help formulate a clearer picture of what anthropology was and what it can thus become. My research contributes to the understanding and appreciation of women's involvement in anthropology, calls into question national borders of the discipline at this point in time, highlights the networks that nurtured it, and demonstrates the potential that museum collections have for an enriched understanding of the history of anthropology. I propose that history of anthropology is better understood through a planar approach that allows multiple parallel developments to exist together rather than envisaging a linear evolution towards a single definition of social anthropology. The project lays the groundwork for further research into the role that museums can have for understanding anthropological legacy and the possibilities they may have in creating fresh understandings of the contemporary world.

After the fall of the Berlin Wall, post-Communist states had to interpret and portray their past in the context of post-Cold War politics. In the Czech Republic, reflections on the memory of communism have gone through peculiar waves that travel between indifference to anti-regime. The Museum of Communism serves as the only social institution that deals with such memory exclusively. Its goal is to create a simple and objective account of communism. However, with museums reinventing themselves as performative spaces that aim to empower their visitors, engage them emotionally and provide them an opportunity to (re)live a past they have not experienced first-hand, this thesis aims to identify what group identities the museum promotes, how it gives substance to them, and what kind of memory community it adheres to and fosters. Drawing on the rich literature on both memory studies and museum studies, this thesis examines the museum through lens of critical discourse analysis. It argues that the Museum of Communism ́s portrayal of the past maintains and participates in the pan-European discourse of the Czech Republic as a western nation kidnapped by the East and its victimhood status is defined by the global holocaust discourse.

Chan, Yee On Christine. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 109-115). / Abstracts in English and Chinese. / Chapter CHAPTER 1 --- INTRODUCTION --- p.1 / Literature Review --- p.4 / Changing role of today's museums and tourism --- p.4 / Tourists as potential museum visitors --- p.7 / Discussion --- p.13 / Methodologies --- p.15 / In-depth interview --- p.15 / Observation --- p.17 / Analyses of guide books and promotional materials --- p.18 / Comparative analysis --- p.19 / Chapter CHAPTER 2 --- TWO CITIES: HONG KONG AND MACAU --- p.20 / Historical and Economic Development of Hong Kong and Macau --- p.20 / Historical background of Hong Kong --- p.20 / Historical background of Macau --- p.22 / Economic structure of Hong Kong --- p.24 / Economic structure of Macau --- p.25 / Cultural heritage and museums in Hong Kong and Macau --- p.26 / Discussion --- p.28 / Destination Image and History Museums --- p.29 / Image of Hong Kong --- p.29 / Image of Macau --- p.31 / Discussion --- p.33 / Construction of Image --- p.34 / Governing bodies of the two museums --- p.40 / Management of the two museums --- p.43 / Summary --- p.46 / Chapter CHAPTER 3 --- THE HONG KONG MUSEUM OF HISTORY AND THE MUSEUM OF MACAU --- p.47 / The Hong Kong Museum of History --- p.47 / Location and mission of the Hong Kong Museum of History --- p.48 / Content and facilities of the Hong Kong Museum of History --- p.49 / From the perspective of tourists --- p.56 / The Museum of Macau --- p.59 / Location and mission of the Museum of Macau --- p.59 / Content and facilities of the Museum of Macau --- p.60 / From the perspective of tourists --- p.65 / Summary --- p.67 / Chapter CHAPTER 4 --- TOURISTS' CULTURAL BACKGROUNDS AND EXPECTATIONS TOWARDS THE HISTORY MUSEUM --- p.70 / Tourists' Cultural Backgrounds --- p.70 / "Tourists from ""Western"" countries" --- p.71 / Tourists from the Chinese mainland and other countries --- p.74 / Tourists' backgrounds and their expectation towards the museums --- p.76 / "Tourism, Curiosity and Museum Visiting" --- p.78 / Educational Level of Visitors and Educational Function of Museums --- p.79 / Summary --- p.84 / Chapter CHAPTER 5 --- INTEGRATION AND COMPARISON: HISTORY MUSEUMS ARE NOT AN ISOLATED ENTITY --- p.87 / Conceptual and Geographical Affiliation between History Museum and the City --- p.87 / Image affiliation --- p.88 / Geographical affiliation --- p.89 / Summary --- p.90 / Reflections from Tourists --- p.92 / The Multi-Functions of History Museums --- p.94 / Tourism and the economic function --- p.94 / Tourism and its educational function --- p.96 / Summary --- p.100 / Chapter CHAPTER 6 --- CONCLUSION --- p.101 / BIBLIOGRAPHY --- p.109 / APPENDIX 1 PHOTO --- p.116

This study of the establishment of heritage preservation in Sweden during the first half of the 20th century focuses upon Sigurd Curman (1879-1966), art historian, restoration architect and Director of Antiquities. Its purpose is to show how an older, more research-oriented form of heritage work grew to become a more socially-conscious vari­ant of cultural preservation. The period of establishment embraces organizational inquiries, government legisla­tion and institutionalization, and as Director of Antiquities between 1923 and 1946, Curman was a main actor. He had already become a key figure in debates on the official organization of preservation activities in Sweden well before this, whose early career dealt chiefly with the restoration of churches. Curman advocated the accentuation of aspects of cultural history. An opinion had been formed among cultural historians and museum curators against what they perceived as the obsolete manner of pursuing heritage efforts conducted by the Royal Swedish Acad­emy of Letters, History and Antiquities and its secretary, the Director of Antiquities, who was also head of Swe­den's main official museum, the Museum of History. Criticism was aimed at all aspects of official heritage preservation efforts, including legislation, restoration policy, the care of ancient ruins and treatment of finds, as well as the lack of understanding on the behalf of the central authority for local and regional interests. The latter referred to the emotive aspects of heritage preservation, which in contemporary verbiage was summarized by the term "piety". The central authority was accussed of not understanding "popular" heritage preservation outside the context of the museum and of displaying a lack of piety toward "the cultural memory of the Fatherland". These feelings were based primarily on two prerequisites: an established perception of a homogeneous national culture with ancient roots in the past, and an apprehension that it was in the interests of society that the government become responsible for the administration of this material cultural heritage. This ambition can be summarized by the term "preservation of cultural heritage" and its foremost exponent was Sigurd Curman. The dissertation fol­lows Curman from his childhood in a wealthy Stockholm family, to his early career in restoration and as lecturer in architectural history at the College of Art. In 1912, Curman was appointed to the first chair in these fields estab­lished at the College, which he held until 1918 when he became advisor in the cultural history of architecture at the new Royal Swedish Board of Public Building. When appointed Director of Antiquities he began concretizing the official organization of heritage preservation. During the 1910s he participated in a comprehensive, dual inquiry into the organization and legislation of the government's heritage preservation policy. When its final report was presented in 1922 it was tabled, but still acted as the basis for Curman's continued efforts. He created a modem bureaucracy out of the council of the Department of Antiquities and contributed to moving the central authority from the ground floor of the National Museum to its own premises in midtown Stockholm. Curman would also work to improve legislation to protect cultural monuments and developed museum activities by creat­ing a countrywide organization of county antiquarians and regional museums. When Sweden's new antiquities law was passed by parliament in 1942, Curman had not only led the inquiry leading up to it, but had formulated the draft of the legislation himself. By the time of his retirement in 1946 he was a legend in antiquarian circles, the very personification of Swedish cultural heritage preservation. The present dissertation shows how Curman achieved this status, though it also details the efforts of numerous other actors participating in the process and sees Curman as a bureaucrat who realized demands for a renewal of heritage preservation in the country. / digitalisering@umu