Thesis (M.A.)--Baylor University, 2009. / Includes bibliographical references (p. 119-131).

No description available.

This thesis examines the documentation process of a collection of contemporary objects made by a Northern Tutchone artist, Mrs. Gertie Tom, from Whitehorse, Yukon Territory. The beaded moosehide objects were purchased by the University of British Columbia Museum of Anthropology between 1992 and 1994, and include a vest, a 'shell' belt, gloves, moccasins, mittens, and a hat. The documentation process included Mrs. Tom documenting her objects in her own words. This thesis investigates the steps, cost, and time involved in documenting the six objects. It also explores how object documentation fits within museological debates on access, collections management, and current museology. Museums are facing an increasingly changing environment. Originating people are requesting changes in the relationship between museums and objects. The cost of caring for museum collections is increasing and many objects within these collections are inadequately documented and consequently of little value for research. At the same time, museums continue to collect. In addition, many scholars think the future of museums is in current and controversial ideas rather than objects. The single, often paternalistic, museum message is being challenged, and people are arguing for museums to exhibit a variety of voices and opinions. This thesis answers the questions: What does this project contribute to issues of collections access, especially with reference to First Nations material? What costs are involved in documenting museum collections? Does documentation improve information available on collections? Does it allow people, not just objects, to become an integral part of museums and to bring new ideas and issues to museums? Although the documentation process required a commitment of time and money, my research confirms that having people document their own objects is beneficial in reference to current museological issues. The information provided by Mrs. Tom not only documents her objects but offers insight into other aspects of her life and Northern Tutchone culture in general. The documentation, in addition to providing answers to questions such as provenience, use, and materials, reveals ideas and interpretations of the objects from Mrs. Tom's point of view. Having Mrs. Tom document her objects in her own words means she, rather than the museum, is the authoritative voice. In an effort to bring a balance between objects and ideas, museums should only acquire objects they can afford to document.

This thesis provides a description and analysis of the process of developing a museum education programme at the UBC Museum of Anthropology (MOA). The programme Debra Sparrow: Weaving Two Worlds Together was developed collaboratively with Musqueam weaver, artist, and educator Debra Sparrow and myself, Jill Baird. At the time, I was temporary Education Coordinator at MOA between December 1993 and June 1995. The case study of this collaboration process is presented from the perspective of myself and Debra Sparrow and examines the working relationships and different individual cultural assumptions which we experienced in our collaboration. It also explores the evolving relationships between collaborators, and the institutions and communities each represents. The thesis contributes to the gap in the literature on museum and education collaborations by documenting the process, integrating theory and praxis, and stimulating the discussion within the discourses of museology and education on collaboration and change. More importantly, it illustrates that First Nations and non-First Nations museum workers can work together in a way which respects each other's world views.

“Estudio analítico descriptivo de los Centros de Interpretación patrimonial en España” se articula en torno a tres objetivos fundamentales que estructuran el cuerpo teórico de la misma. En primer lugar, la investigación ha analizado el proceso histórico de implantación de Centros de Interpretación en el marco geográfico español. Se ha tratado de conocer cuáles son los modelos o tipos existentes hoy, diferenciándolos en función de sus variantes y se han planteado los prototipos fundamentales, con la finalidad de establecer las formas usualmente empleadas en los equipamientos patrimoniales de este tipo para ejercer la interpretación de los mismos. Para éste análisis, la investigación se ha basado en equipamientos del ámbito territorial español. En segundo lugar, se han definido los componentes fundamentales para que un Centro de Interpretación pueda cumplir su función. Estos componentes son muy variados y no siempre hay acuerdo en cuáles son los mínimos para una correcta interpretación. Es evidente que el concepto de interpretación, por su amplitud, admite una gran variedad de componentes. Por ello, es preciso inventariarlos y establecer cuáles son los más importantes, sin lo que el equipamiento no podría cumplir con su función básica que es la de interpretar. Finalmente, y en tercer lugar, se plantea un análisis crítico sobre la función y el significado histórico de la existencia de este tipo de equipamientos culturales. Así pues, la estructura de la investigación está dividida en tres grandes partes: un estado de la cuestión, el estudio de campo y la presentación de resultados con las correspondientes conclusiones. En la primera, se realiza un análisis y un estado de la cuestión de la introducción del fenómeno de los Centros de Interpretación en España y sobre los parámetros en los que se debe fundamentar un Centro de Interpretación concretando en el cuarto capítulo los objetivos citados. En la segunda parte, se describe la metodología utilizada para la realización del trabajo de campo, dentro del marco teórico y conceptual, se presenta el trabajo de campo, donde se especifica la recogida de datos resultante de la estrategia de la encuesta telemática y se especifica todos los Centros de Interpretación visitados in situ, que corresponden a una muestra del 10 % del total descrito en el capítulo anterior. En la tercera parte de la investigación es donde se realiza el análisis cuantitativo de los resultados extraídos del trabajo de campo. Para finalizar el análisis crítico del sistema, se estudia la hipótesis en la que se argumenta que: “Habida cuenta que la mayoría de Centros de Interpretación han nacido vinculados a intereses turísticos, carentes de planificación y de estrategias de sostenibilidad, sin contenidos que reflejen autenticidad, y faltos de rigor, hay que suponerlos abocados a un relativo fracaso”. Las conclusiones de la investigación de esta tesis doctoral ponen de manifiesto la problemática existente al entorno de los Centros de Interpretación o paramuseos en España, apuntándolos como un claro fenómeno cultural del cambio de milenio en posibles vías de extinción. / ANALYTICAL DESCRIPTIVE STUDY OF THE CENTERS OF PATRIMONIAL INTERPRETATION IN SPAIN This doctoral dissertation is articulated concerning three fundamental aims that structure the theoretical body of the same one. First of all, the investigation has analyzed the historical process of implantation of Centers of Interpretation in the geographical Spanish frame. It has been a question of knowing which are the models or existing types today, differentiating them depending on his variants and the fundamental prototypes have appeared, with the purpose of establishing the forms usually used in the patrimonial equipments of this type to exercise the interpretation of the same ones. For this one analysis, the investigation has been based on equipments of the territorial Spanish area. Secondly, the fundamental components have been defined in order that a Center of Interpretation could fulfill his function. These components are very varied and not always there is agreement in which they are the minimums for a correct interpretation. It is evident that the concept of interpretation, for his extent, admits a great variety of components. For it, it is necessary to inventory and to establish which are the most important. Finally, and thirdly, a critical analysis appears on the function and the historical meaning of the existence of this type of cultural equipments. The conclusions of the investigation of this doctoral thesis reveal the existing problematics to the environment of the Centers of Interpretation or “paramuseos” in Spain, aiming at them as a clear cultural phenomenon of the change of millenium in possible routes of extinction.

Thesis (M.A.) (Hons.) -- University of Western Sydney, 2002. / A thesis submitted for the degree of Master of Arts (Honours), University of Western Sydney, 2002. Bibliography : leaves [121]-127.

Mémoire (M.A.)--Université du Québec à Chicoutimi, 2000. / Document électronique également accessible en format PDF. CaQCU

Thesis (Ph. D.)--Uppsala University, 1993. / Includes bibliographical references (p. 259-260) and index.

Thesis (M.A.)--University of Calgary, 1999. / Mode of access: World Wide Web. Includes bibliographical references.

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