This study explores what happens when baseball and public history collide at physical sites. It specifically examines corporate and vernacular exhibits and tours at six Major League ballparks and exhibits at the National Baseball Hall of Fame & Museum. I study these primary sources within the broader context of baseball history, nostalgia marketing, heritage tourism, and the relationship between public historians and corporations. My analysis adds to the sparse critical literature on sports public history. / History

The origins of this project lie in a desire to understand the relationship that exists between light and architecture. Natural light has always played a role in the evolution of architecture, helping us make countless decisions about the things we build. From their siting to their plan, to the nature of their openings, our buildings have to a great extent been shaped by the sun and the moon. The project became a search for new ways for architecture to express the conscious relationship that needs to exist among light, material, structure, and space. / Master of Architecture

This research explores the relationship between narrative, empathy and anxiety in art museum education. The study begins from my personal experience with anxiety and is methodologically rooted in narrative inquiry and friendship as method. In this study, I propose a creative method of narrative postcard writing called (fe)mail – rooted in a feminist ethic of care that seeks to understand and empathize with the experience of others through correspondence. This research asks relevant questions about the future of art museum programming for mental illness and the act of writing (fe)mail as a reflective practice for academics and educators in the field of social science. In my narrative analysis of the program and the data, I also problematizes my role as researcher, educator and friend throughout the study by considering my own biases, expectations and personal educator agenda. The study is divided into two parts. The first comprises correspondence and analysis of (fe)mail between myself and my best friend/co-participant, Atleigh. In Part I, I conduct a narrative analysis of the (fe)mail data produced between us in order to answer the following questions: What qualities of (fe)mail will appear in the exchange? Can (fe)mail be used as a tool for self-care during the research writing process? In Part II of the study, (fe)mail is brought into the museum by way of a virtual museum program for six women in order to answer the following questions: In what ways does the museum program create a sense of community among participants? In what ways might (fe)mail create empathy for works of art, the self, and others as part of a museum program?

Museums Connect stands at the intersection of public history and public diplomacy. The program, which has both public history and public diplomacy agendas, is sponsored by the United States Department of State and administered by the American Alliance of Museums. This dissertation examines the competing impulses of transnational public history and public diplomacy made manifest in Museums Connect and its ramifications for public history theory and practice. The project demonstrates both the seeming similarities between public history’s ideas of shared authority, dialogic museum practice, and community engagement and public diplomacy’s “people-to-people” diplomacy, as well as the limits of these similarities. This dissertation also considers the ramifications of these dynamics on museum and public history practice and theory. It is shown that the assumptions of public diplomacy found in Museums Connect inform the program’s structure and operation, while also precluding a truly shared authority between the American museums and their international partners. The appointment of the American museums as “lead” museums and the Department of State’s choice to focus on young people as the target audience for the program foregrounds didactic relationships between the museums and their “communities” for the projects. Through three case studies of Museums Connect projects between the United States and Afghanistan, Morocco, and South Africa, this dissertation challenges the seminal theoretical literature of public history, articulated in Michael Frisch’s A Shared Authority, that interpretive and meaning-making authority in public history is inherently shared. Each case study reveals different factors that either promote or preclude more balanced power dynamics between the museums and their communities within the broader power dynamics established by the grant. Staff reflection-in-action, project activity and partner museum choice, and the non-American public history and museological contexts are all revealed to uniquely influence the dynamics between the museums and their communities. Throughout, the agency of the non-American participants, highlighted through the responses and reactions to the unequal dynamics of the projects, complicates notions of the singular democratic public sphere that underpin the paradigm of the museum as forum.

Purpose - This thesis investigates how London art museums work to deconstruct heteronormative filters. The aim is to study how museums relate to LGBTQ content, and the influence of internal power structures. I have chosen to focus on the Victoria & Albert Museum, the Wallace Collection, and the British Museum.  Method - To answer my questions, I interview eight individuals who work with LGBTQ content in museums. I am also doing some activity-based observations during several LGBT History month events. Analysis - The qualitative data collected through interviews and observations will be analyzed and presented in case studies. I apply an intersectional perspective, and a critical theoretical method, encompassing queer theory. Findings - The findings show that museums are slowly incorporating more LGBTQ content and perspectives. This may be due to changing social norms as well as a conscious effort to address various target audiences to diversify visitor demographics. The current focus is on visibility. Ideally, this will encourage updating terminol- ogy in databases and galleries, staff training, policies explicitly supporting LGBTQ content and LGBTQ staff, increased online presence, publications, and community co-creation, to name some aspects. Museums still think of LGBTQ interpretation as optional. People often work with these efforts in their spare time. Increasingly, the legacy of these events is being evaluated, as well as how museum terminology can become more inclusive. There are no coordinated efforts shared by the museums, but they often look to each other for inspiration.  Originality/value - Previous research on LGBTQ museum projects has not evaluated their legacy. There hasn't been any particular focus on LGBTQ perspectives in art museums. I am taking into account aspects of gender and queer theory, discussing the act of labelling as a means to exercise power through language. Paper type - Two years master's thesis in Archive, Library and Museum studies. / Syfte - Syftet med denna uppsats är att undersöka och jämföra de insatser som tre konstmuseum i London, Stor- britannien, gör för att dekonstruera heteronormativa filter. Målet är att observera hur olika museum jobbar med HBTQ som tema och innehåll. Jag studerar vem det är som initierar normkritiska projekt på museerna, samt de maktstrukturer som projekten anpassar sig efter. Metod - Jag intervjuar åtta individer som på olika sätt jobbar med HBTQ på museum. Därtill företar jag mig ett antal aktivitetsbaserade observationer. Analys - De kvalitativa data som insamlats genom intervjuer och observationer analyseras utifrån ett intersek- tionellt perspektiv. Teori och metod inspireras även av kritisk kulturteori samt queerteori. Resultat - Resultaten visar bland annat att samhälleliga förändringar och besökarfokus öppnar upp för HBTQ- teman på museer. Synlighet ligger för närvarande i fokus. Detta kan utvecklas till arbete med t.ex. normkritisk personalutbildning, uppdaterade museipolicydokument som inkluderar HBTQ-fokus och skyddar HBTQ- personal, mer inklusiva etiketter och databaser, samt medskapande i dialog med olika sociokulturella grupper.  Värde - Tidigare forskning fokuserar på teoretiska utgångspunkter, och har sällan utvärderat existerande HBTQ- museumprojekt. Konstmuseum och HBTQ har inte heller specifikt utvärderats utifrån ett normkri- tiskt/intersektionellt perspektiv som involverar kritisk teori och queerteoretiska aspekter. Typ av uppsats - Tvåårig masteruppsats inom Arkiv-, biblioteks-, samt musei- och kulturarvsvetenskap.

Apžvelgiamas medicinos muziejų darbas, jų vykdoma veikla, veikla mokslinėje srityje, komunikavimas, nagrinėjant lankomumą, ekskursijas, edukacines programas, rinkinius, rinkinių apimtis - prieinant prie ribos, kai matoma, jog bendradarbiavimas tarp Lietuvoje esančių tokio pobūdžio įstaigų vyksta gan sunkiai, nes kiekvienas iš jų yra užsidaręs savyje ir gyvena vos ne atskirą gyvenimą, sunkiai priimdami tai kas naujesnio. Kiekvienas medicinos muziejus yra savaime unikalus, su tam tikra specifika, galinčia pritraukti vieną ar kitą visuomenės dalį. Apžvelgiant medicinos muziejų rinkinius, kolekcijas aptinkame tai ko galima ir tikėtis – dalis rinkinių ar eksponatų dubliuojasi. Tai palengvintų organizuojant naujas parodas ,ekspozicijas, - būtų mažiau skolinimosi rengiant vienokią ar kitokią profilinę parodą medicinos ar farmacijos srityje. Taip pat būtų gerai, jog visi eksponatai būtų suinventorinti ir atsispindėtų internete. Tai palengvintų parodų organizavimą. Būtų galima rengti netgi virtualias parodas. Reikėtų visiškai naujo tipo, modernaus medicinos muziejaus įkūrimo idėjos, duodančios postūmį tolesniam medicinos istorijos tyrinėjimui ir, galbūt, turinti įtakos tolesnei mokslo muziejų raidai. Pagrindinis šios įstaigos akcentas – mokslinė, edukacinė, pažintinė reikšmės, iki galo išreiškiančios maksimalų galimybių panaudojimą šioje srityje. Naujo modernaus tipo medicinos muziejaus patalpose turėtų būti įrengiamos erdvės ekspozicijoms, saugykloms ir, esant galimybei, patalpos... [toliau žr. visą tekstą] / Job analysis has been taken for medical museums in Lithuania - Vilnius University Faculty of Medicine Medicine History Museum,Pharmacy(Vilnius),Medical(Panevezys),Pharmacy Lithuanian Medicine and Pharmacy History Museum(Kaunas),Lithuanian Health Medicine University Anatomy Museum, Ortopedic museum and the first Vieksniai chemist's shop Museum.Comparison with foreign countries to take Medical History of Belarus(Minsk),Ukrainian National Medical(Kiev), Tartu Medical(Estonia),P.Stradins Medicine(Riga, Latvia) Museums and Kunstkamera(St.Petersburg,Russia).Lithuanian Museums of Medicine analyzed the situation was to explore the collections in the field of science,communication activities and their cooperation. An analogous analysis was performed and the above-mentioned foreign medical museums. It also compared the activities of Lithuania of the same type of museums.Reviewing Lithuanias' medical museums' work, their activities, communication, collections, cooperation - has led to the threshold, where we see that cooperation between Lithuania in such institutions is quite difficult, because each of them is exclusive in itself, and not just live separate lives difficulty accepting that what is newer.Medical museum is unique in itself with a specificity.The review of medical museum collections, collections find what was available and expected.Is easier to organize new exhibitions, expositions.Will are good that all the exhibits will are on the Internet.The benchmarking of Lithuanian... [to full text]

The problem of this survey is to ascertain the relationship between nine Texas art museums and contemporary art, defined for this study as art of the 1970s. The role of the museum and its involvement with contemporary art are also perceived in respect to the general public. The purpose of this study was (1) to visit nine Texas art museums and interview the director or curator of contemporary art, using a standardized questionnaire, and (2) to present and analyze the responses to the questionnaire. The eight questions comprising the survey were formulated to include both practical and philosophical related concerns. Therefore, the survey responses and final conclusions reflect a variety of issues ranging from the physical accommodation of diverse contemporary works to the more fundamental philosophical issue concerned with contemporary art's presence in the museum and the institution's function.

A research report submitted to the School of the Arts, Faculty of the Humanities University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the degree Masters of Arts August 2015 / South African heritage sites are places that have the potential to support curriculum learning outcomes, and visits to heritage sites are sometimes included in the school timetable. Learning in museums is difficult to quantify, but it has been suggested that “something generally [does] happen” during visits to cultural sites (Hooper-Greenhill 2007:47). The focus of this research report is Constitution Hill, which is a prominent feature in the heritage landscape of Johannesburg that focuses on the atrocities, and the injustices of the past, while strengthening understanding of democracy and human rights. This research report evaluates the experiences of learners from the Further Education and Training (FET) Phase visiting Constitution Hill and participating in the Saturday Workshops run by Constitution Hill Education Project and attempts to identify what is the ‘something’ that ‘generally happens’. The data was obtained through semi-structured, open-ended interviews with learners, educators and programme co-ordinators. The data was analysed using the Generic Learning Outcomes Model, an evaluation tool developed in the United Kingdom. The research report proposes, despite the best efforts of schools and educators, many learners, regardless of socio economic background, struggle with making connections between South African history and their own daily realities and that this may influence the value they place on their democratic rights. However, the dynamic interaction with Constitution Hill, provided by the Constitution Hill Education Project, resulted in shifts in attitudes and perspectives suggesting that the ‘something’ that happens is positive and potentially far reaching. This research report also reflects on the interpretive strategies that characterise the engagement at Constitution Hill.

Although a sizable subcategory of the nonprofit museum sector, historic house museums have received limited attention in discussions of best practices, most notably in topics of administration, funding, and risk management. Historic house museums serve as a cornerstone of American and international cultural tourism for their accessibility and low, or free, attendance costs. This research argues for historic house museum operations, rather than its period of restorative preservation, as the focus of inquiry. The subjects of this research are three sites that were the products of late nineteenth-century industrialization in the American Midwest, a region under-studied in current literature. Past scholarship on historic houses has been dedicated to preservation methodology and interpretation. No study of house museums attends to business and legal concerns as well as architectural history and preservation. Utilizing archives, interviews, and financial documents in the analysis of three case studies, I argue that historic house museums provide an illuminating lens onto issues of professional practice facing museums in the twenty-first century. This dissertation focuses on three historic house museums constructed after the 1876 Centennial and before the turn of the twentieth century. Chapter One offers the history of the Pabst Mansion in Milwaukee, a German Renaissance Revival structure built in 1892 for brewing magnate Captain Frederick Pabst, and provides a discussion of community funding and post-recession heritage tourism. Chapter Two details the story of the Driehaus Museum in Chicago, a Renaissance Revival mansion built in 1883 for banker Samuel Nickerson and now funded primarily by investor Richard Driehaus. This chapter illuminates the issues of single-donor funding, the problematization of definitions of the historic house museum, and modern development of private art collections. Chapter Three is dedicated to the Samuel Cupples House in St. Louis, a Richardsonian Romanesque residence constructed in 1890 for manufacturing magnate Samuel Cupples and now owned by Saint Louis University, and delves into topics of institutional stewardship and university management of cultural resources. The conclusion proposes a diversification of scholarship concerning historic house museums that embraces financial management to ensure operational sustainability.

Os centros e museus de ciência e tecnologia foram pouco estudados sob o aspecto arquitetônico. É proposto o conceito de centro de ciência e tecnologia, cuja particularidade é ser focado na experiência e nos fenômenos, e não nos objetos. Existem instituições específicas relacionadas a esse tipo de instituições, em especial o CIMUSET / ICOM, ASTC, ECSITE e ABCMC. Os centros de ciência são protagonistas das mudanças museológicas desde seu surgimento, nos anos 1930. O equivalente da experiência estética dos museus de arte nos museus de ciência é a experiência do processo da ciência. Os objetivos dos centros de ciência são: educacional, divulgação científica, debate e participação, social, motivação, lazer, impacto urbano. Seus públicos alvos principais são famílias e escolas. A internet, a realidade virtual e outras novas tecnologias têm grande impacto nos museus. A interatividade com objetos não é condição suficiente para o aprendizado. São necessários níveis mais profundos de interatividade e interações sociais para o sucesso do aprendizado. Os modelos interativos dos centros de ciências são os equivalentes aos objetos originais nos acervos dos museus tradicionais. A mediação humana é a mais indicada forma de interlocução entre a instituição e o visitante, mas existem outras formas, impessoais, de mediação. Diversos são os recursos expográficos disponíveis para os centros de ciências. Os percursos numa exposição estão relacionados com duas organizações espaciais: linear e episódica. A idéia de museu nasceu há vários séculos, mas o museu moderno surgiu a partir do século XVIII, constituindo uma nova tipologia funcional arquitetônica. Os museus científicos podem ser divididos em três gerações. Suas origens estão associadas às exposições universais. Montaner apresenta uma classificação dos museus contemporâneos em oito posições tipológicas. Há várias visões com relação à essência da arquitetura. Para Zevi é o espaço interior. Para Frampton, é a estrutura. Lynch defende a importância da legibilidade e da imagibilidade da cidade. Os elementos marcantes contribuem para a legibilidade. Eles podem ser edifícios. Para o adequado dimensionamento de edifícios de centros de ciências é necessário o estudo de padrões de visitação. A dissertação incluiu o estudo de diversas instituições, especialmente sob o aspecto arquitetônico. / The science and technology centers and museums have been little studied under an architectural point of view. This kind of institution is focused on the experience and phenomena, rather than on objects. There are specific institutions related to such museums, especially the CIMUSET / ICOM, ASTC, ECSITE and ABCMC. Since they appeared in the 1930s, the science centers are important agents of change in the museum field. The equivalent, in science museums, of the aesthetic experience of art museums is the experience of the process of science. The aims of a science center are: educational, scientific dissemination, discussion and participation, social, motivation, leisure, urban impact. Their main public is schools and families. The Internet, virtual reality and other new technologies have great impact on museums. The interactivity with objects is not a sufficient condition for learning. It takes deeper levels of interactivity and social interactions for learning to take place. Interactive models in science centers are the equivalent to the original objects in the traditional museums collections. The human mediation is the most appropriate form of dialogue between the institution and the visitor, but there are other ways. There are several ways of exhibit the collection at science centers. The routes in a museum may be linear or episodic. The idea of the museum was born several centuries ago, but the modern museum appeared in the eighteenth century, and became a new functional architectural typology. Science museums can be divided into three generations. Its origins are linked to universal expositions. Montaner presents a classification of contemporary museums in eight typologies. The essence of architecture may be the interior space, as for Zevi, or the structure, as for Frampton, or even other aspects. Lynch presents the important concepts of readability and imageability of the city. If they area considerably imageable, buildings may become landmarks. The study of patterns of visitation are required if one wants to design adequate science and technology centers and museums. The dissertation included the study of several institutions, mainly with an architectural view.