Submitted by Caroline Falcao (caroline.rfalcao@ufpe.br) on 2017-06-14T19:09:00Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) 2012-dissertacao-NeilaPontes.pdf: 1915279 bytes, checksum: 75effb06324a79c7509cea55921be569 (MD5) / Made available in DSpace on 2017-06-14T19:09:00Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) 2012-dissertacao-NeilaPontes.pdf: 1915279 bytes, checksum: 75effb06324a79c7509cea55921be569 (MD5) Previous issue date: 2012 / Os museus são instituições culturais que exibem formas de interpretação das culturas, definem e atribuem valores, de forma mais ou menos consciente, portanto, comunicando significados e podendo constituir-se assim como objeto de estudo privilegiado sobre a aplicação das teorias culturais. São instituições que tem por finalidade comunicar (em alguns casos), negociar e preservar os aspectos culturais considerados importantes em determinado contexto social. Este ensaio antropológico visa apresentar os resultados obtidos na pesquisa que teve por objetivo investigar o processo de construção do discurso museológico bem como analisar a narrativa expográfica atualmente em exibição no Museu do Homem do Nordeste (Recife -PE) . Considerando os paradigmas propostos pela antropologia interpretativa que tem como foco uma descrição densa na busca de significados possíveis e empreendendo as ações recomendadas por Igor Kopytoff para realização da análise biográfica deste museu, busquei observar as invisibilidades de sua construção discursiva realizando assim um estudo que se constitui como uma antropologia dos museus. Assim desejo contribuir para o debate acerca das atuais representações da identidade regional nordestina e do papel dos museus tradicionais na construção dessas identidades. / Museums are cultural institutions that participate in the process of interpreting cultures, defining and assigning value in a more or less conscious form, therefore making them able to communicate meaning while occupying the status of a privileged object of study for the construction and use of cultural theories. At the same time, their main institutional aim is to communicate (in some cases), negotiate and preserve certain cultural elements that are considered important within a given social context. The present anthropological essay aims at presenting the results obtained during fieldwork at the Museu do Homem do Nordeste (Recife – PE), focused on investigating the process of the construction of the museum’s discourse as well as analyzing the narrative of the exhibit currently on display. In order to produce a study that could be considered an Anthropology of Museums, the author focused on observing the invisible aspects of the museum’s discourse by taking into consideration the paradigms proposed by interpretive Anthropology and its dense description as a form of uncovering possible meanings while following the steps recommended by Igor Kopytoff in order to develop the biographic analysis of the institution. These efforts intend to shed new light on the debates about the construction of Northeastern regional identity representation and the social function of traditional museums within such processes.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-10T10:57:15Z No. of bitstreams: 1 danielleberzoinimauler.pdf: 1145745 bytes, checksum: 20c97df1e842116636b54cd0178e704a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-10T14:06:02Z (GMT) No. of bitstreams: 1 danielleberzoinimauler.pdf: 1145745 bytes, checksum: 20c97df1e842116636b54cd0178e704a (MD5) / Made available in DSpace on 2015-12-10T14:06:02Z (GMT). No. of bitstreams: 1 danielleberzoinimauler.pdf: 1145745 bytes, checksum: 20c97df1e842116636b54cd0178e704a (MD5) Previous issue date: 2015-11-07 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / As discussões feitas hoje acerca de museus são muito consistentes no que se refere à dimensão educativa dessas instituições. Baseiam-se, sobretudo, no fato de que, para cumprir a função social de educar, devem apresentar-se na condição de formuladores de argumentos críticos que levem seus visitantes a reflexões, dúvidas, questionamentos, conflitos, confrontos. Para atingir esse objetivo é necessário que se constituam como espaços democráticos, permeáveis, dispostos a manter relações dialógicas com seus visitantes e com a comunidade em que se inserem. Buscar compreender o processo de compartilhamentos e trocas que os professores estabelecem com o museu na construção de percepções e entendimentos do espaço museal e de seus acervos representa, portanto, tentar entender o próprio museu como espaço educativo a partir da ótica do sujeito que se educa. Diante desse contexto, procurei conhecer as leituras que os docentes fazem do espaço museal – mais especificamente do Museu de Arte Murilo Mendes – UFJF – e das significações e ressignificações que produzem em visita a exposição de objetos do acervo dessa instituição. A metodologia empregada é a que se descreve como de abordagem qualitativa, sendo usados como instrumentos para a investigação a observação participante, o diário de campo, as entrevistas semiestruturadas e a interpretação dos dados obtidos. O respaldo teórico para a pesquisa realizada foi encontrado principalmente nas obras de autores que se dedicam ao campo da educação em museus, como Mário Chagas, Francisco Régis Lopes Ramos, Júnia Sales Pereira, Silvia Alderoqui e Constanza Pedersoli e Ignacio Díaz Balerdi. Ao concluir a investigação, verifiquei que as leituras que os professores fazem do espaço museal estão sempre relacionadas às suas histórias de vida, à prática pedagógica, mas também que as significações que ali produzem podem modificar-se e alargar-se na medida em que se sentem convidados a visitar esse espaço e se sentem à vontade para frui-lo. / The discussions in nowadays about museums are very consistent in relation to the educational dimension in those institutes. Based on, mainly, the fact that, to fulfil it’s social role of education, must be on condition of formulators of critical arguments that take your visitors to reflections, doubts, questions, conflicts, confrontation. In order to achieve this goal is necessary that are former democratic areas, permeable, to stand for dialectic relationship with your visitors and community. To understand the process of sharing or exchanging the professor establishes with museum in a construction of perceptions and understanding of museum space and of their collections represent. Therefore, try to undertand the own museum like a educational area, in a perspective of liable who educates. In light of this context, I looked know the readings that teachers doing of museum space – specifically Murilo Mendes Museus of Art – UFJF – and meanings and redimensioning that produce to visits on exhibition of archives’s objects in this founding. The methodology employed is describe like of quality approach, being used as tools of research the participant observation, the field diary, the interviews semi-structured and the interpretation of the data collected. The theoretical knowledge for the research conducted was found, mainly, in that work of such writers who devoted to the field of education in museums, like Mário Chagas, Francisco Régis Lopes Ramos, Júnia Sales Pereira, Silvia Alderoqui e Constanza Pedersoli e Ignacio Díaz Balerdi. To conclude this investigation, I have seen that the readings who the teachers do of museum area will be linked a part of their life story, the pedagogical practice, but also that the significations produced will be modify and extending as those they feel invited to visit the area and feel comfortable for enjoy.

Este trabalho teve como objetivo principal estudar como se dá a percepção de crianças pequenas durante uma visita a um museu de microbiologia. Mais do que identificar os conhecimentos das crianças em relação ao tema microrganismos, nossa intenção nessa investigação foi estudar quais elementos estão envolvidos na aprendizagem de temas científicos durante uma visita a uma exposição. Para isso, elegemos o conceito de percepção como foco de análise, no sentido que este assume dentro da teoria sociocultural. Foram analisados dados coletados durante visitas de famílias com crianças entre quatro e seis anos à exposição permanente \"O Mundo Gigante dos Micróbios\" do Museu de Microbiologia do Instituto Butantan (São Paulo - SP). O referencial teórico teve aporte principal na teoria sociocultural, no que diz respeito à aprendizagem como processo social, que se desenvolve no convívio com os outros. Baseamonos em obras de Vigotski (2007; 2009); Allen (2002) e Silva (2008) para compor o escopo teórico e as categorias de análise de dados. Elaboramos com base em Campos (2013) um sistema de categorias de análise que buscam identificar quais tipos de conversas se estabelecem durante a visita das crianças ao museu. Esse sistema de categorias se divide em três frentes: conversas centradas na percepção, conversas de conexão e conversas de maior elaboração conceitual. Os resultados apontam para a grande predominância das conversas centradas na percepção, que englobam operações cognitivas de nomeação, identificação, caracterização, afetividade, além das falas que expressam o próprio uso dos objetos expositivos e espaço da exposição pelas crianças. Esses resultados reforçam nossa ideia inicial de que dentre todas as operações e processos ligados à aprendizagem que o museu pode provocar, a percepção é o que ocorre com maior frequência e intensidade. Este trabalho reforça a necessidade de aprofundar as investigações em torno dessa temática para estudar as possibilidades de aprendizagem promovidas pelo museu de ciências para as crianças pequenas. / This work aimed to study how young children\'s perception develops during a visit to a museum of Microbiology. More than identifying the knowledge of children in relation to the microorganisms theme, our intent in this research study was to understand what elements are involved in science learning during visits to an exhibition. In that way, we chose the concept of \'perception\' as the focus of our analysis in terms of the meaning it takes within the sociocultural theory. We analyzed data collected during family visits with children between four and six years old to the permanent exhibition \"The Giant World of Microbes\" at the Museum of Microbiology in the Instituto Butantan. (São Paulo, Brazil). The main theoretical framework was primarily based on the sociocultural theory, with regard to learning as a social process that develops in the interaction with others. We rely on works of Vygotsky (2007; 2009); Allen (2002) and Silva (2008) to compose the theoretical scope and categories of data analysis. We drafted a system of categories of analysis based on Campos (2013) that seeks to identify which types of conversations occur during children\'s visits to the museum. This category system is divided into three types: perception-oriented conversations, connecting conversations and conversations with greater conceptual elaboration. Results point to a great prevalence of perception-oriented conversations which encompass cognitive operations of naming, identifying, characterizing, affection, besides children\'s own words that express the specific usage of the displayed objects and exhibition space. Such results emphasize our initial idea that among all operations and processes associated to learning that the museum is able to trigger, perception is the one more frequently and more intensely applied. This study emphasizes the need to deepen investigations on such theme in order to study learning possibilities promoted by science museums to young children.

The museum of the twenty-first century is operating against the backdrop of ongoing social concerns pertaining to climate change, gender inequalities and racial tensions, and often exhibitions become the contact zones where those expressions are formulated. This research analyses how a democratic and inclusive philosophical perspective such as the Tigens Metod (or method of the thing) is executed by museum professionals. In doing so, Stuart Hall’s model of encoding/decoding is applied as the theoretical framework in investigating the process of exhibition production. It is argued that occasionally resistant positions can emerge from the museum’s ideological discourse and that key actors within the museum field yield different codes according to their own framework of knowledge and relations of production. This challenges the basic assumption in Hall’s model that media institutions yield one singular preferred code into the system. Overall, it is argued that an object-oriented democracy has the potential of challenging power structures, albeit still contingent upon the choices made by museum professionals.

“The Artist as Curator: Diego Velázquez, 1623-1660” reconsiders the career of Diego Velázquez at the court of Hapsburg king Philip IV as a major episode in the history of curatorial practice. By this it means to examine the ways Velázquez’s activities as a painter and his activities as curator of the Hapsburg art collection transformed each other. Velázquez’s paintings express ambitions and attitudes towards his predecessors that would motivate Velázquez’s reorganization of parts of the royal collection that included their works. In turn, the collection and display of paintings in royal exhibition sites would cultivate in Velázquez a knowledge of art and its history that would inform the paintings he produced at court. Velázquez was a singularly art-historical painter, many of whose works investigate the nature of art itself. This dissertation seeks to prove that these aspects of Velázquez’s work were cultivated in the early modern museum that was the Alcázar palace, where he was surrounded by a veritable history of art under the Hapsburgs. The dissertation has five chapters; each closely examines a significant project in Velázquez’s trajectory as artist-curator at the Hapsburg court. The first uses the first major installation that Velázquez would witness at the Hapsburg court to set up the problematic of the dissertation as a whole - namely, that meaning was made on the walls of galleries, and that if Velázquez was going to make his name at court, it would be by engaging the royal art collection as it appeared on gallery walls. The second investigates Velázquez’s first curatorial project, the redecoration of the Octagonal Room; it argued that Velázquez’s interest in art itself—an interest characteristic of his painting practice—found a new medium in his work as curator of this gallery. The third chapter reexamines The Rokeby Venus as a function of what Velázquez witnessed over the course of the assembly of the Vaults of Titian, where paintings of nudes were exhibited all together; it thus demonstrates the impact of the royal art collection and its display on his creative imagination as a painter. The fourth chapter considers the culminating curatorial project of Velázquez’s career—the redecoration of the Hall of Mirrors—in tandem with the suite of paintings he made for it—the painting cycle including Mercury and Argus, examining the ways that these two projects mutually informed one another. The final chapter proposes that Las Meninas again evidences Velázquez’s curatorial and painterly imaginations at work simultaneously; then it uses the painting as a point of entry into the reception of both of these aspects of Velázquez’s work at the Hapsburg court, arguing that to make art after Velázquez was to acknowledge both. All together, these chapters tell the story of Velázquez’s increasing engagement with the royal art collection, from the start of his career at the Hapsburg court through his legacy beyond it.

The main purpose of this mixed methods research was to explore and analyze visitors’ overall experience while they attended a museum exhibition, and examine how this experience was affected by previously using a virtual 3dimensional representation of the museum itself. The research measured knowledge acquisition in a virtual museum, and compared this knowledge acquired between a virtual museum versus a real one, employing a series of questionnaires, unobtrusive observations, surveys, personal and group interviews related to the exhibition and the artist. A group of twenty-seven undergraduate students in their first semester at the College of Architecture and Design of the Autonomous University of the State of Mexico participated in the research, and were divided in two groups, one of which used a 3D virtual representation previous to the museum visit. Results show that participants who experienced the virtual museum concurred that using it was a positive experience that prepared them to go to the real museum because they knew already what they were going to find. Most of the participants who experienced the virtual museum exhibited an increased activity during their museum visit, either agreeing, being more participative, concurring and showing acceptance, asking questions, or even giving their opinion and analysis, disagreeing with the guide and showing passive rejection. Also participants from this group showed an increase on their correct answers to the knowledge acquisition questionnaires, going from 27% answers responded correctly in the pre-test, to 67% of correct answers after the virtual museum usage. The research attempted to show that experiencing a virtual museum can be similar to the experience in physical museum visits, not only engaging participants to go to the museum, but sometimes even offering a more functional way to deliver content. Results of this research evidence that using a virtual museum creates a positive impact in users before, during, and after the museum visit, and that it can be a good alternative, not only for educational, but for promotional and recreational and purposes.

Nowadays there is a considerable tendency towards encouraging students to seek for information and deepen their knowledge themselves rather than classical frontal educational methods. Thanks to this trend teachers tend to use i.e. museum collections for educational purposes in order to present life in the past as well as at present to students in a more enjoyable way. Everything that students learn by their own experience is sure to be remembered more vividly. The aim of my Master Thesis is to propose excursions to four selected museums. Worksheets are to be provided for each excursion and shall be tested in practice as well. The conclusion of the Master Thesis is that museums strive to attract schools with various educational programs, lectures and excursions. Nevertheless, they concentrate mainly on social sciences. Educational programs, intended solely for natural sciences or biology, are very rare. However, biology teachers may - to a considerable extent - use wide variety of expositions and collections of museums. Key words: excursion, educational program, worksheet, museum, children's museums

The purpose of this action research study was to determine how a critical theory curriculum implemented in a college-level art appreciation course impacted student understanding of an encyclopedic art museum. A critical theory-based curriculum unit was designed and implemented, and students were given assignments to assess their learning. The most significant assignment centered on a self-guided student visit to the art museum in which students made detailed observations of the museum spaces and responded to articles critiquing museum practices. These documents, together with class discussions and my personal observations, were analyzed and described in this research study. The data revealed that students had a high level of regard for and interest in art museums, were capable of understanding how history and context influences museum practices, detected multiple instances of bias in art museum galleries, and self-reported high levels of cognition and empowerment based on their experiences. The data suggested that, in college students, both art appreciation instructors and museum educators have an ideal audience in which to facilitate sustained, higher-level, critical theory-based museum learning experiences.

Steven Conn recently argued that as museums change from warehouses of artifacts focused on public instruction to a different model of education by engagement, their emphasis on objects will become less necessary. This dissertation directly engages with that idea and argues that for many local museums objects mean as much as they ever did, maybe even more. My idea, the “currency of authenticity,” builds on two strands of scholarship. One that traces the increasing commodification of history. The other that local museums are just as worthy of study as national institutions. Specifically, I analyze how smaller museums use material culture to convince their audience that their textual narrative and/or oral interpretation is just as truthful as its objects. Using institutional records, newspapers, and oral histories, this dissertation examines how the Stephen Foster Museum and Florida Folk Festival, both in White Springs, Florida, and the Georgia Museum of Agriculture and Historic Village portray aspects of Southern culture. Each of these places emphasizes different qualities, objects, or ideas as they construct their own brand of authenticity. Simultaneously, these places also all emphasize their own kind of Southern identity, unique to their regions and the people they want to represent. Their exhibits demonstrate that Southern heritage is vast, complex, and more diverse than some people understand. / A Dissertation submitted to the Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2016. / July 8, 2016. / Local History, Memory, Public History / Includes bibliographical references. / Suzanne Sinke, Professor Directing Dissertation; Denise Von Glahn, University Representative; Andrew Frank, Committee Member; Jennifer Koslow, Committee Member; Maxine D. Jones, Committee Member.

Science education has maintained a longstanding goal of enhancing societal interest, values, and understandings of science. Despite a series of public education reforms and efforts by scientific researchers, scientific literacy and passion remain sparse across the American public. In fact, many students demonstrate a lack of interest in the sciences as early as first grade, with major drop-offs occurring by the age of 14. This is further exacerbated for youth of color, as science is deeply rooted in pervasive and institutionalized racism. When accessible, out-of-school science experiences are uniquely positioned to promote youth agency, leverage students’ current values, and challenge structural inequities. Therefore, this work sought to highlight the narratives of three young science learners who identify as youth of color and graduated from an eight-year-long museum science program. A narrative inquiry was implemented, guided by Critical Race Theory and Cultural Learning Pathways as frameworks. Data from semi-structured interviews, questionnaires, and drawings provided insight into the students’ orientations towards science and the development of those orientations. The study took place during the Covid-19 outbreak. Implications of the pandemic on the study are discussed. Findings from the study suggest that students positively identify with science and feel at home in The Museum. It was also noticed, however, that the students maintained ideologies consistent with Western perspectives. Recommendations include creating homeplaces, making out-of-school learning more easily accessible, and creating justice-centered curricula.