Thesis (M.A.)--Miami University, Dept. of History, 2005. / Title from first page of PDF document. Document formatted into pages; contains [2], 40 p. Includes bibliographical references (p. 38-40).

M.Dissertation (Archaeology)-University of Pretoria, 2007. / Includes bibliographical references. Available on the Internet via the World Wide Web.

Orientador: Rejane Galvão Coutinho / Banca: Mario de Souza Chagas / Banca: Mirian Celeste Martins / Resumo: Desenvolvo um estudo sobre meu encontro com a mediação cultural através de um projeto chamado "40 museus em 40 semanas", no qual visitei 40 museus da cidade de São paulo, de diferentes tipologias, entre os anos de 2013 e 2014 . Neste projeto fui propositora, idealizadora, participante e pude me perceber no papel de mediadora destes espaços, mediadora do público, mediadora de uma ideia que se revelou como um intervenção artística na cidade. Esta proposta de adentrar os espaços museológicos, conhece-los e discutir a experiência, é também uma proposta de aproximação do patrimônio da cidade que me levou a pensar sobre identidade cultural e territorialidade. Os textos e imagens com os quais nos deparamos logo a seguir são caminhos de analise neste processo de pesquisa que foi tão profundo e me levou a descobrir e ampliar os significados de museu, memória, patrimônio e mediação cultural. / Abstract: I develop a study on my encounter with cultural mediation, through a project called "40 museums in 40 weeks", in which I visited 40 museums of the city of São paulo, of different types, between the years of 2013 and 2014. In this project I was a proposer, idealizer, participant and I was able to perceive myself in the role of mediator of these spaces, mediator of the public, mediator of an idea that turned out to be an artistic intervention in the city. This proposal to enter the museological spaces, to know them and to discuss the experience, is also a proposal of approximation of the patrimony of the city that led me to think about cultural identity and territoriality. The texts and images that we come across are ways of analysis in this research process that was so profound and led me to discover and extend the meanings of museum, memory, patrimony and cultural mediation. / Mestre

Orientador: Rita Luciana Berti Bredariolli / Banca: Sumaya Mattar / Banca: Luiza Helena da Silva / Resumo: Escolas e museus de arte se relacionam, sobretudo, através das visitas de estudantes acompanhados por seus professores às exposições. Nesse estudo conheceremos cinco professores de artes, que ao longo de suas vidas frequentam as programações oferecidas pelos museus, e as reverberações que este habito cultural pode oferecer para o desenvolvimento do ensino de arte nas escolas que lecionam. Como processo, optei por entrevistas semi-estruturadas com ênfase nas histórias de vida dos participantes, momentos de emersão de suas relações com a arte e espaços museológicos desde a infância aos dias de hoje. Além do convite a produzir um trabalho poético com a mesma temática. A partir dos elementos trazidos pelos professores construímos enlaces com a pesquisa bibliográfica para as discussões sobre o desenvolvimento da "Proposta triangular"; o museu como espaço de formação continuada e experiência; os fluxos entre museus de arte e escolas e o papel do professor de artes no processo de formação de público. Dois exemplos de trabalhos desenvolvidos em escolas a partir do vivido pelos professores nos museus foram trazidos para dialogarmos sobre a presença da arte contemporânea em sala de aula e as relações criadas entre arte e vida / Resume: Écoles et musées d'arts rentrent en relation, notamment, grâce aux visites des expositions organisées par les enseignants avec leurs élèves. Dans cette recherche nous avons suivi cinq professeurs d'arts qui au long de leurs parcours fréquentent les programmes offerts par les musées. Nous nous sommes intéressés aux traces laissées par cette habitude culturelle dans le développement de l'enseignement des arts dans les écoles où ils enseignent. En ce qui concerne la méthodologie, j'ai opté pour les entretiens semi-structurés tout en soulignant les histoires de vie des participants, les origines de leurs relations avec les arts et les espaces muséologiques depuis l'enfance. Les participants ont été également invités à produire en travail poétique sur ces thématiques. A partir des éléments apportés par les professeurs, nous avons construit les liens avec la recherche bibliographique afin de nourrir les débats autour de la « Proposition triangulaire » : le musée comme espace de formation continue et d'expériences ; les flux entre les musées et les écoles et le rôle du professeurs d'arts dans le processus de formation de public. Deux exemples de travaux développés dans les écoles à partir du vécu des professeurs dans les musées ont été retenus pour établir ce dialogue sur la présence des arts contemporains dans la salle de classe et les rapports entre les arts et la vie / Mestre

The study examines the impact of communication on customer satisfaction at the Transvaal Museum. Customer satisfaction refers to customer's overall satisfaction or dissatisfaction with the organisation based on all encounters and experience with that particular organisation. Communication has an impact on both customer satisfaction and future behavioural actions of consumers. There are four sources of brand messages namely, planned, unplanned, product and service messages. In the quest for increased customer satisfaction, companies are moving away from the traditional 4Ps (product, price, place and promotion) of the marketing mix to the 8Ps. The other four Ps include physical assets, procedures, personnel and personalisation. Integration of all marketing communications to customers is seen as a key activity in companies' attempts to build long term-relationships. On the whole, the study has indicated that customers of the museum are satisfied with its products, services and messages. However, the research has also shown that customers are not happy with the way the museum handles its planned communication activities. / Communication Science / M.A. (Organisational Communication Research Practice)

From Conclusion: For the sake of posterity and historical research, our need for secure origins and our appreciation of and pleasure in fine craftsmanship and art, it is important that any Art Collection, particularly an Historical one, be fully documented. All data pertaining to the pictures should be recorded from an artistic, historical and even scientific point of view and photographs should be taken of the pictures. An organized classification system, the correct registering and labeling of each picture and its accessioning and cataloguing as part of the contents of the Gallery and for visitors information, should be constantly 53 maintained and where necessary and in as many ways as possible, cross-references made so that the stored information be usable. To this end and with the growth and increasing importance being placed on Art Museums and Galleries in the community it would probably be of value to cross-reference with other similar institutions and in the respect and day and age, it is not unrealistic to propose that the King George VI Art Gallery consider a computer cataloguing system to facilitate research and complement a more simplified version for the use and guide of the general viewing public . The significance of a picture is not only its value as such, but also the information relating to it. The importance of the Historical Collection as Africana and works of art, expressive of the places, events, people and even attitudes, and as cultural and historic items, goes without saying. Without the Historical Collection of the King George VI Art Gallery, Port Elizabeth, the Eastern Cape community and South Africa too, would be the poorer. The pictures have their role to play .

Submitted by Sérgio Ricardo Losnak (sergiolosnak@gmail.com) on 2018-07-02T19:30:14Z No. of bitstreams: 1 Sergio Losnak - Dissertação Final.pdf: 4316643 bytes, checksum: dd25415cac52b23e14a916d78c72a644 (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-07-02T20:19:01Z (GMT) No. of bitstreams: 1 losnak_sr_me_bauru.pdf: 4296854 bytes, checksum: 02a8c9d777e2b59ab9fb183eafe1d080 (MD5) / Made available in DSpace on 2018-07-02T20:19:01Z (GMT). No. of bitstreams: 1 losnak_sr_me_bauru.pdf: 4296854 bytes, checksum: 02a8c9d777e2b59ab9fb183eafe1d080 (MD5) Previous issue date: 2018-06-15 / As questões relacionadas à preservação do patrimônio ferroviário no Brasil têm ganhado maior dimensão nas últimas décadas, não só diante da obsolescência tecnológica, mas principalmente devido ao processo de privatização de empresas estatais do setor. As particularidades desta tipologia de patrimônio vêm permitindo múltiplas possibilidades da sua transformação em equipamentos culturais, como museus, centros de documentação e espaços de cultura e de turismo que são viabilizados ou incentivados por meio das políticas públicas de preservação implementadas pela União, estados e municípios. No campo acadêmico verifica-se um reduzido número de trabalhos que investigam as particularidades, práticas, métodos e até mesmo resultados relacionados às políticas públicas que atuam na preservação ferroviária. É diante desse contexto que este trabalho busca caracterizar as práticas das políticas públicas no estado de São Paulo, mais especificamente da cidade de Bauru, tendo como objetos o Conselho de Defesa do Patrimônio Cultural e o Museu Ferroviário Regional. Esses mecanismos de proteção estão presentes em muitos municípios e se tornaram a principal ferramenta de preservação de bens ferroviários. Em termos metodológicos, o trabalho contará com pesquisa bibliográfica exploratória sobre o tema, análise documental e entrevistas com agentes envolvidos no processo. Como resultado, pretende-se chegar à compreensão das diretrizes, conceitos, valores e agentes que atuam na preservação por meio das políticas públicas, indicando-nos o possível método de musealização como prática principal quando se trata do patrimônio industrial ferroviário, não só na cidade de Bauru como também em outros municípios do estado de São Paulo. / The issues related to the preservation of railway heritage in Brazil is getting more and more importance in last decades, not only due to the technological obsolescence, but mainly due to privatization process of the companies in the sector. The characteristics of that kind of heritage have allowed many possibilities in its transformation in cultural equipment, such as museums, document center and cultural and tourism spaces that are encouraged by the country, states and cities. There are a few works in academic field that investigate the particularities, practices, methods and even results related to the public policies that act in railway preservation. In this context, this work aims to characterize public policies practices in São Paulo state, more specifically at Bauru city, having as the research object the Council of Defense of Cultural Heritage and the Regional Railway Museum. These protection mechanisms are presents in many municipalities and they became the main tool for the preservation of railway goods. In methodological terms, the research will have exploratory bibliographic research, documentary analysis and interviews with agents related in the process. As a result, we intend to comprehend the guidelines, concepts, values and agents that act in the preservation through public policies, indicating us the possible method of musealization as main practice for the industrial railway heritage, not only in Bauru city, but also in other municipalities in São Paulo State

For many years, meanings and interpretations of artefacts that are taken to represent African culture including the Ife bronzes have been predominantly produced and fixed by a team of western curatorial experts (Ciolfi, 2012). Such museum practices have prevented visitors and the people being represented by the artefact from participating in the process of interpretation and meaning-making. In the particular case of the ‘Ife bronzes’, the previous meaning and implications of the Ife ‘bronzes’ as part of ‘the cradle of the world’, according to Yoruba oral traditions, are yet to be given the amount of attention they deserve. For a long time the interpretations and meanings produced by curators were drawn from the writings and accounts of earlier western travellers, explorers and colonial officials whose culture affected how the Ife bronzes have been perceived and interpreted (Coombes, 1997: Vogel, 1999). Today despite the impact of ‘the new museology’, strong traces of such biased interpretations and meanings are still evident in the framing of the Ife bronze head, exhibited at the British Museum Sainsbury African gallery as a ‘funerary object’ in postcolonial times. Such narratives highlight ‘relations of power and not relations of meanings’ (Foucault, 1980:114). These contemporary exhibitionary frames highlight the need for interpretations and meanings that will consider how changing roles, ownership, usage, political situations and geographical location have affected and will affect the Ife bronzes. In this thesis I carry out this work, documenting the social life of the Ife bronzes from pre-colonial Ife to postcolonial digital British Museum. I argue that there is a need for a new space that will encourage rewriting, revising and representing the Ife bronzes in a more capacious way to depict their changing meaning as they journeyed through time. This theory is in line with Hall (1997) and Foucault’s (1980) theories that meanings and interpretations are not static but are affected by time and changing context. The thesis therefore explores the multifaceted political, economical and sociocultural implications of the Ife bronzes. Despite these wider implications of Ife bronzes, they are still only too often shrouded in narratives that tend to validate the supremacy, civilisation and intellectual ‘supremacy’ of the West instead of substantiating the ingenuity, civilisation and intellectual capabilities of Africa. Digitisation is critically considered as offering a potential new space for representing Ife bronzes in a new light that might allow meanings with postcolonial ideology to emerge. Focusing on different periods involving the Ife bronzes (the pre-colonial, colonial and postcolonial) the thesis explores the potentials of digital representation. The thesis concludes that digital representation but only combined with a critical contextual approach, have the potentials of initiating a more thorough decolonisation of the Ife bronzes through an inclusive participatory culture.

English Heritage properties contain a wealth of textiles on open display, however these are ephemeral objects. Amongst the natural fibres found in historic houses, silk is reported to be the most vulnerable to damage, especially from light. The critical deterioration factors for silk deterioration have been reassessed highlighting the important role of humidity, which has previously been overlooked. Monitoring behind a number of tapestries has recorded the formation of high humidity microclimates. This is a possible reason for the similar condition of brightly coloured samples taken from the reverse of a tapestry and the same thread which had faded on the displayed side. Kinetics experiments studied the rate of silk deterioration and suggest the activation energy is approximately 50 kJ mol-1, although this may vary for other types of silk, such as weighted materials. However as elemental analysis demonstrated around 10% of the 100 samples, taken from over 1000 objects containing silk in the English Heritage collection, were from tin-weighted silks, plain silks were the study’s focus. Year long accelerated ageing experiments have demonstrated that although the inclusion of UV radiation during light ageing increased the rate of deterioration, light ageing caused small changes to silk. Thermal ageing with different humidity levels demonstrated increasing the relative humidity (RH), increased the rate of silk deterioration significantly. Further degradation of silk was observed when samples had been contaminated by the saturated salt solution used to create the RH environment during ageing. During ageing increased RH and increased temperatures led to greater yellowing of silk samples. Experimental results have been used to make preventive conservation recommendations including lowering the RH below 50%, reducing the temperature and the continued exclusion of UV radiation. A theoretical silk deterioration curve for unweighted silk has been drawn, from which initial isoperms have been plotted. The analytical results have been compared with near-infrared (NIR) spectroscopy using multivariate analysis (MVA). This developed a predictive model for the tensile strength of silk using the NIR spectra. The potential of this non-invasive, non-destructive technique to monitor silk condition in situ has been tested at Brodsworth Hall and shown to rank the condition of samples successfully.

Esta dissertação tem como foco de estudo as curadorias compartilhadas no Museu da UFRGS, no período de 2002 a 2009. Trata-se de um estudo de caso, constituído pela análise das curadorias referentes a quatro exposições: Artistas Professores (2002), Total Presença: Gravura (2005), Homem-Natureza: cultura, biodiversidade e sustentabilidade (2006) e Em casa, no universo (2009). Para a realização do estudo proposto foram utilizados três tipos de fontes: escritas, orais e visuais (imagens, constituídas por fotografias). O referencial teórico abarca autores da história da educação e da história cultural, da historicidade e dinâmica dos museus, bem como estudos recentes sobre curadorias em museus. O objeto de pesquisa constituiu-se, inicialmente, numa primeira aproximação com os catálogos e demais materiais impressos, disponíveis no arquivo do museu, resultado das exposições realizadas. Logo, em seguida, foram feitas as entrevistas com os agentes internos e externos ao museu, envolvidos na concepção, produção e realização destas exposições. Por meio da análise destas narrativas buscou-se identificar as experiências dos professores-pesquisadores com curadorias, bem como evidenciar alguns elementos que corroboram ou negam a assertiva de que as curadorias no museu da UFRGS podem ser consideradas curadorias compartilhadas. Além disso, procurou-se saber acerca da atuação dos professores-pesquisadores da Universidade como curadores de exposições, bem como sobre as representações destes docentes, com relação ao museu da UFRGS. Os resultados apontam no sentido de que as exposições realizadas no Museu da UFRGS podem ser caracterizadas como casos de curadorias compartilhadas, principalmente, com relação às curadorias das exposições de ciências. / This dissertation focuses on the study of the shared curatories at the UFRGS Museum, from 2002 to 2009. This is a case study, constituted by the analysis of the curatories related to four exhibitions: Artists Professors (2002), Total Presence: Picture (2005), Human-Nature: culture, biodiversity and sustainability (2006) and At home, in the universe (2009). To conduct the proposed study it was used three types of sources of information: written, oral and visual (images, consisting of photographs). The theoretical framework includes authors of the history of education and cultural history, history and dynamics of museums, as well as recent studies of museum curators. The object of research was, initially, an approach to the catalogs and other printed materials available in the archives of the museum, produced on the exhibitions. After, interviews were conducted, with internal and external agents, which were involved in the design, production and implementation of these exposures. By analyzing these narratives it was searched the experience of research-professors as curators. Furthermore, by analyzing these stories it was possible to evidence some elements that corroborate or deny the assertion that the curatories of the UFRGS Museum can be considered as shared. In addition, this work tried to know about the performance of research-professors of the University as curators of exhibitions. The results point that the curatories at the UFRGS Museum can be characterized as shared, especially those related to science exhibitions.