Thesis (M.Arch.)--University of Hong Kong, 2002. / Includes special report study entitled : Rehabilitation of old buildings. Includes bibliographical references. Also available in print.

Thesis (M.S.)--University of North Carolina at Greensboro, 2010. / Directed by Patrick Lucas; submitted to the Dept. of Interior Architecture. Title from PDF t.p. (viewed Jul. 8, 2010). Includes bibliographical references (p. 72-77).

Thesis (Ph. D.)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 227-230).

No description available.

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This thesis is a study of resonant things in Victorian writers’ houses/museums – a reading of those material objects that seem especially fit to presence the writer to whom they once belonged. Through the study of a selection of autographic objects in the houses/museums of Victorian writers, this thesis considers the following questions: What is resonance? How do things presence the absent individual with whom they are associated? Why do some categories of things – objects seemingly ‘imbued with a lasting sediment of their owners’ (Pascoe 3) – seem especially fit for the task of presencing, and how have we described or understood this phenomenon through narrative? Through a reading of things, categories of things, images, novels, life writing, cultural and critical theory and the house/museum space, this thesis will examine the relationship between presencing things, material metonymy, and remembrance. It will suggest that certain categories of things have qualities that allow them to serve as remembrancers, standing-in-for and eliciting a sense of the absent individual with whom they were once connected. Chapter one lays the ground for this reading of resonant things by contextualizing writers’ houses/museums as sites of literary pilgrimage and introducing and defining some of the key concepts and terms employed in this study such as autographic object, authenticity, contiguity and resonance. Chapter two moves inside the writer’s house/museum in order to demonstrate how things can ‘world’ via a reading of Marion Harland’s late nineteenth-century description of a tour of the Carlyle’s House alongside Martin Heidegger’s concept of worlding. Chapters three, four, five, and six look at different types of museum things, beginning with hair – the object most closely associated with the writer’s body – and then moving on to clothing, writerly tools such as desks and chairs, and ending with handwriting. Through assessing the particular qualities of each categorical thing alongside the concepts we meet these things with and the way that encounters with these things have been described in a variety of narratives, a number of the dynamics contributing to affective encounters with writerly things are uncovered. These dynamics or factors include: autographic ascription, authenticity, contiguity, metonymical fitness, equipmentality, and stasis/conspicuousness. Ultimately this thesis argues that certain things have a particular fitness for the task of evoking or presencing the absent individual for whom they stand, and that in doing so everyday objects undergo a metamorphosis: ceasing to be everyday tools fit for a specific task (for wearing, for sitting, for writing with) and becoming instead tools for remembrance – evocative things that presence both the absent individual with whom they are associated and the world they inhabited in their lifetime.

For many, a museum visit may consist of gazing at objects locked away in glass a cabinet accompanied by signs forbidding touch, and complex and often confusing text panels. But what message does this present to the visiting public? How can the public connect with museums and their collections if objects are beyond their reach? Why is handling reserved for the museum elite and not the general public? The value of touch and object handling in museums is a growing area of research, but also one that is not yet fully understood. Despite our range of senses with which we experience the world around us, museums traditionally rely on the visual as the principle means of communicating information about the past. However museums are increasingly required to prove their worth and value in society by becoming more accessible, not just in terms of audience but by opening up their stored collections, and government agenda is pushing for culture to feature in the everyday lives of the public. This research pulls apart the hierarchical nature of touch in the museum, demonstrating the benefits of a “hands-on” approach to engaging with the past, investigating the problems and limitations associated with tactile experiences, and puts forward a toolkit for tactile access to collections. It suggests that handling museum collections, not only enhances our understanding of the past, but provides memorable and valuable experiences that will remain with an individual for life.

Made available in DSpace on 2012-05-07T14:48:01Z (GMT). No. of bitstreams: 2 license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) 000039.pdf: 1090919 bytes, checksum: 3aa50f55585154dfa97e51a80a496c3c (MD5) Previous issue date: 2009 / Esta dissertação analisa a trajetória científica da naturalista e líder feminista Bertha Maria Júlia Lutz (1894-1976) sob a ótica de gênero e ciências. Enfocamos os anos iniciais de sua carreira no Museu Nacional do Rio de Janeiro, de 1919 a 1937, onde, embora tenha ingressado no cargo de secretário (através de concurso público), já se dedicava a trabalhos em botânica e zoologia. Avaliamos sua atuação no campo educacional, pela divulgação científica de uma maneira geral e,especialmente, para as mulheres. Na instituição onde trabalhou, contribuiu para a modernização de técnicas expositivas e práticas pedagógicas para a popularização dos conhecimentos de História Natural e defendeu a participação feminina como fator importante nesse movimento educativo. As mulheres foram consideradas, em suas proposições, tanto como agentes / educadoras quanto como receptoras / educandas. Pertencendo a uma geração na qual cientistas e mulheres definiam seus papéis na sociedade, Bertha Lutz atuou pela construção de uma nova função social feminina, apoiada tanto em sua inserção científica e institucional quanto no movimento feminista do qual fazia parte. Ciência e feminismo são dimensões inseparáveis em sua trajetória podemos considerar que suas atividades feministas foram pautadas por valores compartilhados pela comunidade científica, assim como sua atuação científica foi influenciada pela causa feminina. O discurso maternalista foi uma das bases de sua militância e contribuiu, ao contrário do que afirma a bibliografia sobre essa personagem, para reformulações de uma ideologia de gênero no Brasil na primeira metade do século XX. Ao compreender Bertha Lutz inserida em seu contexto histórico, compartilhando valores presentes na comunidade científica e numa mobilização feminina já existente que buscava sua educação e profissionalização, procuramos rever a noção de excepcionalidade conferida a mulheres tidas como pioneiras .

Made available in DSpace on 2014-06-11T19:26:43Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-09-27Bitstream added on 2014-06-13T20:15:32Z : No. of bitstreams: 1 paula_trf_me_mar.pdf: 2308745 bytes, checksum: 03bedb42def59210cb1e815ca7f586a9 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Realizou-se um estudo a respeito da mediação em museus no âmbito da Ciência da Informação, a partir da experiência do projeto de extensão universitária “Museu, um projeto de inclusão: veja com as mãos”, realizado no Museu da Bacia do Paraná, órgão suplementar da Universidade Estadual de Maringá. Buscou-se compreender como o Museu entende e faz a mediação. Para tal, foi realizada uma busca bibliográfica a respeito do tema, delineando conceitos e/ou definições propostos por autores da área ou instituições e órgãos governamentais que abordam a temática e regem o fazer dos profissionais de museus. Apresentou-se um panorama histórico dos museus, apontando sua evolução na sociedade e sua atuação como instituição educativa e cultural. Discutiu-se a respeito do objeto de estudo da Museologia e da Ciência da Informação. A abordagem utilizada é qualitativa, a partir de um estudo de caso realizado no Museu da Bacia do Paraná. Utilizou-se para coleta de dados análise documental e entrevista individual, sendo Análise de Conteúdo utilizada para análise dos dados. Esta se direciona para a mediação do ponto de vista da prática profissional, a partir das três categorias: mediação educativa, mediação cultural e mediação da informação, sendo estas categorias também base para a discussão. Acredita-se que as mediações educativa, cultural e da informação foram realizadas pelo projeto “veja com as mãos”, pois através tanto da análise realizada nos documentos do projeto quanto das entrevistas com os participantes do projeto, foi possível descrever o fenômeno de acordo com as três categorias estabelecidas, existindo em cada uma das fases do projeto os elementos que compõe cada um dos três tipos de mediação utilizados como... / A study was made about mediation in museum in the scope of Information Science, from the university extension project experience “Museum, an inclusive project: see with hands”, realized in Museu da Bacia do Parana, Universidade Estadual de Maringa supplementary body. Seeks to comprehend how the Museum perceives and realizes mediation. For that, a bibliographic research was made about the subject, outlining concepts and/or definitions proposed by institutions and governmental bodies’ authors. A historical review of museum is presented, pointing out its evolution in society and its performance as educative and cultural institution. Discuss about the Museology and Information Science study object. A qualitative approach was used, from a case study fulfilled in Museu da Bacia do Parana. Individual interview and documental analysis was used for data gathering, and Subject Analysis being used for data analysis. The analysis aims to professional experience point of view of mediation, therewith three categories: educative mediation, cultural mediation and information mediation, being these categories the base for the discussion. Believes that educative, cultural and information mediation was achieved by “see with hands” project, as by the documental analysis made than with project participants interviews, it was possible to describe the phenomena accordant with the three established categories, existing in each stage of the project constituent elements each of the three mediation types used as theoretical basis. Thereof concludes the “see with hands” project provided to the museum exert educative and means to... (Complete abstract click electronic access below)

The purpose of this paper is to explore the reason why Parisian museums are in previously contracted buildings rather than creating a structure for them upon their creation. Looking at the examples of the Musée de Cluny, Musée du Louvre, and the Musée d’Archéologie National. Upon examining these cases, it is evident that Paris had a vacancy of buildings that allowed to put its buildings into previously constructed former noble residences. Drawing on the collections and timing of the creation of the museums creates the clear differences between the cohort cities of London and Paris.