Collections of tangible heritage and material culture found in university museums present both challenges and opportunities for their parent institutions. The identification and recognition of objects and collections of material ‘heritage’ proves difficult to universities, due to the formation and utilisation of their collections. Although each university possesses a history of varied content, length and significance, the rich heritage collections kept by universities remain undefined and largely unknown. This thesis addresses new and changing roles for university museums and collections, focusing on the issues surrounding heritage. What purpose does an institutional collection of academic heritage serve beyond preserving or representing the history of a university? Using data collected during the field research programme and two case studies (University of St Andrews and University of Liverpool) the thesis explores the definition and role of heritage in the university. Through the exploration of these topics, the thesis provides a new model for university collecting institutions based on the concept of ‘university heritage’ and ‘institutional identity’, encompassing collections ranging from subject-specific departmental teaching collections to commemorative collections of fine art. By utilising these once undefined and underappreciated collections, universities can use the heritage objects and material culture representative of their academic history and traditions as institutional promotion to potential students, staff and funding bodies.

This thesis is a critical study of two exhibits, First Encounters Spanish Exploration in the Caribbean and A Tribute to Survival. The objective of the thesis was to understand if and how indigenous activists, using the media as tool, were able to change curatorial approaches to exhibition development. Chapter 1 is broken into three sections. The first section introduces the exhibits and succinctly discusses the theory that is applied to this thesis. The second section discusses the objectives of the project and the third provides a brief outline of the document. Chapter 2 discusses the historical background of American museums in an attempt to highlight changes in curatorial attitudes towards the public, display, interpretation, and authority. Chapter 3 gives a more in-depth overview of the methodology and materials utilized in the thesis. Chapter 4 is a critical analysis of the literature for both First Encounters and A Tribute to Survival. Chapter five is a summary of the thesis and offers a conclusion of the effectiveness of using the media as a tool. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253

The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253

When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth.

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published_or_final_version / Education / Doctoral / Doctor of Philosophy

Nesta pesquisa buscamos entender as contribuições da Museologia para iniciativas de turismo de base comunitária desenvolvidas em Reservas Extrativistas (Resex), de forma a promover o conhecimento e a valorização do patrimônio (e do território-patrimônio) das populações tradicionais habitantes dessas áreas e, assim, colaborar para a implementação dessa categoria de Unidade de Conservação (UC). Nesse processo, a discussão se amplia para uma reflexão sobre as Resex como potenciais museus (mais especificamente como ecomuseus) e como cenário para o fato museal. A pesquisa tem como estudo de caso a experiência de turismo de base comunitária desenvolvida desde 2004 pela Comunidade Quilombola do Mandira, beneficiária da Resex do Mandira, localizada no município de Cananéia/SP. Os métodos utilizados envolvem pesquisa teórica e de campo. O estudo é fundamentado em autores e referenciais teóricos das Ciências Humanas -- notadamente da Antropologia e da Museologia -- e das Ciências Naturais; na análise dos inventários de patrimônio coordenados pelo Instituto Socioambiental (ISA) e pelo Instituto de Terras de São Paulo (Itesp); na avaliação do processo de comunicação das referências patrimoniais; e em entrevistas semiestruturadas com membros da Comunidade do Mandira, com representantes de órgãos públicos e de Organizações Não-Governamentais. / In the present study, we seek to understand the contributions of Museology for community-based tourism initiatives carried out in Brazilian Extractive Reserves (Resex), our goal being to promote knowledge and valorization of the heritage (and territory-heritage) of the traditional populations who live in these areas, thus collaborating for the implementation of this category of Conservation Unit (UC). In this process, our discussion widens to encompass a reflection about Resex as potential museums (more specifically, eco-museums) and as a setting for the museal fact. We use as a study case the community-based tourism experience conducted since 2004 by the Quilombola Community of Mandira, which is the beneficiary of the Mandira Resex, in the municipality of Cananéia, state of São Paulo. Our methods involve field and theoretical research. The study builds on the works of authors and theoretical background of Human Sciences -- particularly Anthropology and Museology -- and Natural Sciences; on the analysis of heritage lists coordinated by the Socioenvironmental Institute (ISA) and the Institute of Lands of São Paulo (Itesp); on an evaluation of the process of communication of heritage references; and on semi-structured interviews with members of the Mandira community, government agency officials, and members of NGOs.

Esta dissertação, desenvolvida no Programa de Pós-Graduação em História Social da Universidade de São Paulo (USP), vincula-se também ao Programa de Pesquisas em História da Cultura Material do Museu Paulista/USP, na linha de pesquisa História dos Museus e das Exposições. Seu objeto de estudo é a formação do Museu Republicano Convenção de Itu, extensão do Museu Paulista no interior do Estado (o primeiro museu histórico brasileiro dedicado à República), emblemático por ter-se constituído como projeto de alguns dos chamados republicanos históricos, que estiveram à frente do governo brasileiro na Primeira República. Seu recorte cronológico abrange desde o momento que antecede a inauguração do Museu, realizada em 1923, até o final da gestão de Affonso Taunay, seu primeiro Diretor, em 1946. Os museus de história têm suscitado reflexões de diferentes autores, em diferentes perspectivas. A contribuição que pretendemos dar para esta discussão desenvolve-se não na perspectiva da História Política, mas sim da Cultura Material e da Museologia, isto é, a partir do exame de seu acervo e sua exposição. / This dissertation was written as part of the Social History Post-Graduate Program at Universidade de São Paulo (USP), as well as of the Material Culture History Research Program of the Museu Paulista/USP, in the research line: History of Museums and Exhibitions. Its object refers to the establishment of the Museu Republicano Convenção de Itu, which is a branch of the Museu Paulista in the interior of São Paulo State (the first museum in the country dedicated to the Republic), and an emblematic project developed by some of the \"historical republicans\", the ones who were at the head of the Brazilian government in the First Republic. Its chronological scope ranges from the moment before the museum opening in 1923 until the end of the management of Affonso de Taunay, its first Director, in 1946. History museums have been the object of reflections by many authors from different perspectives. The contribution that we hope we may offer to such topic is developed not from the perspective of Political History, but is based on Material Culture and Museology, i.e., on the investigation of the museum´s collection and exhibition.

Esta pesquisa teve por objetivo compreender e analisar os movimentos de constituição de autoria dos profissionais que assumem o papel de conceptores em museus de ciências no processo de produção do discurso expositivo. Consideramos que o discurso expositivo diz respeito não somente aos saberes dos sujeitos envolvidos na concepção e no desenvolvimento das exposições, mas se refere também às condições de produção que caracterizam o processo como um todo e os sentidos atribuídos na materialização desse discurso. A abordagem metodológica utilizou o referencial das pesquisas qualitativas em educação e teve como foco a exposição de longa duração do Museu de Microbiologia do Instituto Butantan (SP). O referencial teórico adotado tem por base os pressupostos da abordagem sócio-histórica para o estudo da linguagem de Mikhail Bakhtin e seu Círculo, que evidencia características dialógicas em diferentes meios textuais e se objetiva como acontecimento concreto relacionado às condições que circunscrevem a vida dos sujeitos e as posições por eles assumidas. Para a análise, recorremos às contribuições que auxiliam a abordar o princípio de autoria na produção discursiva, tais como dialogismo, enunciado, horizontes sociais, alteridade, vozes e o conceito de gênero. A pesquisa fundamentou-se em duas etapas complementares e articuladas entre si que integram os procedimentos metodológicos. Na primeira etapa, investiu-se no estudo das exposições dos museus de ciências enquanto esfera de atividade na qual emerge o nosso objeto de investigação, onde foram utilizadas discussões sobre as concepções de educação e comunicação nessa unidade particular. A segunda etapa procurou focalizar a dimensão enunciativo-discursiva das produções discursivas dos profissionais que participam da concepção e do desenvolvimento da exposição de longa duração do Museu de Microbiologia. A partir do estudo realizado, situado por um breve histórico e o contexto de emergência do Museu de Microbiologia no Instituto Butantan, a exposição de longa duração do Museu foi descrita e foram analisados aspectos do seu processo de constituição, como as contrapalavras presentes na concepção da exposição, a estrutura composicional, com ênfase nos textos e nos objetos, e a presença do outro na produção do discurso expositivo. Os resultados obtidos demonstram a existência de especificidades nos movimentos de constituição de autoria desse evento discursivo, que o tornam singular na maneira como expressa a articulação entre as condições sociais de produção, os conhecimentos, os sentidos atribuídos pelos conceptores e seus interlocutores. Um aspecto observado se relaciona ao modo como a dimensão temporal e espacial é incorporada no discurso expositivo e condiciona os atributos e sentidos expressos nos textos e objetos. Outro aspecto se relaciona às vozes que caracterizam os discursos das diversas esferas sociais (científica, educativa, estético-espacial, entre outras) e que se deixam entrever por meio de marcas que se manifestam no discurso expositivo. Com base nas analises realizadas postula-se que exposição de museus de ciências poderia ser considerada um gênero de discurso de caráter híbrido, do ponto de vista enunciativo-discursivo. / The objective of this research is to understand and analyze the authorship constitution movements of professionals who play the role of designers in the production process of the expository discourse in science museums. We believe that the exhibition discourse concerns not only the knowledge of the subjects involved in the design and in the development of the exhibitions, but also refers to the production conditions that characterize the process as a whole, as well as to the meanings attributed during the materialization of this discourse. The methodological approach used the framework of qualitative research in education, and focused on the long-term exhibition at the Museum of Microbiology of the Instituto Butantan (SP). The theoretical approach is based on the assumptions of socio-historical approach to the study of language of Mikhail Bakhtin and his Circle, which shows dialogical characteristics in different textual media and results as a concrete event related to the conditions that circumscribe the lives of individuals and the positions assumed by them. For this analysis we used the contributions that help addressing the principle of authorship in the discursive production, such as dialogism, statement, social horizons, otherness, voices and the concept of gender. The research was based on two complementary and articulated steps that integrate the methodological procedures. On the first step we invested in the study of exhibitions in science museums as a sphere of activity in which the object of our research emerges, where discussions on the concepts of education and communication were used in this particular unit. The second stage sought to focus the enunciative-discursive dimension of discursive productions of professionals participating in the design and development of the long-term exhibition of the Museum of Microbiology. From this study, in which a brief historical background and the emerging context of the Museum of Microbiology at the Butantan Institute were established, the long-term exhibition at the Museum was described and aspects of its constitutional process, such as the counter words present in the design of the exhibition, the compositional structure with emphasis on the texts and objects and the presence of the other in the production of expository discourse were analyzed. The results show that there are specificities in the authorship constitution movements of this discursive event, which makes it unique in the way that it expresses the relationship between social conditions of production, knowledge, the senses attributed by designers and their interlocutors. A noticeable aspect relates to how the space and time dimension is incorporated into the exhibition discourse and determines the attributes and meanings expressed in the text and objects. Another aspect relates to the voices which characterize the discourses of different social spheres (scientific, educational, aesthetic, spatial, among others) and that afford a glimpse through marks that are expressed in the exhibition discourse. Based on the analysis performed it is believed that exhibitions in science museums could be considered a kind of discourse, hybrid in nature in terms of enunciative-discursive.