Orientador: Oswaldo Francisco de Almeida Júnior / Banca: Carlos Cândido de Almeida / Banca: Sueli Bortolin / Resumo: 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... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: 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) / Mestre

This inter-disciplinary examination assesses the European ceramics in the collections of the Dukes of Hamilton over a number of generations. The study is based principally on the evidence found in the Hamilton and other archives, comprising both textual and visual sources. The second element that forms the foundation for the research is the connoisseurship of ceramics, both extant and those known only through documents. Evidence has revealed that the Duchesses of Hamilton play a major role in this work. A significant number of Hamilton ceramics have been newly identified and located, while their attribution, acquisition and history within the collections have been assessed and clarified.

As places where multiple cultures, faiths, and artistic practices come together, museums exist as physical sites of intersection. They are at once sites of debate, dialogue, protest, and partnership. This intersection uniquely positions museums as capable of tackling challenging subject matter related to human rights and global justice. Through interviews conducted with heritage professionals from eight different institutions across Canada, this dissertation analyses the curatorial practices, methods of collections research, exhibition design strategies, educational programming, and public outreach initiatives of these institutions as they relate to Canada’s three official national apologies delivered in the House of Commons for: The Japanese Canadian Internment during World War II; the Chinese Head Tax and Exclusions Laws; and Indian Residential Schools. This research considers: (1) how are human rights abuses that have occurred in Canada are presently being defined and displayed in Canadian galleries and exhibition spaces; (2) the nature of collaborations and partnerships involved when designing exhibitions of this nature; and (3) the role of both material culture and survivor testimony in processes of creating human rights exhibitions. As a multi-sited ethnographic study into the process of museological project design, the results of this research provide valuable insights into the challenges faced and the strategies deployed by heritage professionals when working with difficult subject matter. This research finds that emotional experiences play a large factor in processes of project development about challenging subject matter. Working with survivors of trauma is not just about creating a successful exhibition; in the end, the exhibition is but one part of the museological process. Museological work of this nature typically involves working directly with survivors of trauma, with exhibitions more often driven in development by the personal narratives shared by survivors and less so by objects in collections. As such, this strain of museological work comes with the possibility for survivors to heal from past trauma through the sharing of their experiences and this healing is part of the transformative potential of museological work. Additionally, this research strongly indicates that the flexibility of smaller, community-driven institutions, where the needs of project participants are central to the curation process, stand as strong examples of human rights work produced through the space of the museum. As such, partnerships between smaller galleries and larger museums exist as valuable sites of institutional collaboration in Canada. Finally, this research indicates museums are situated as key players in the ongoing development of human rights discourses in Canada. Museums create and contribute to the public’s legal understandings of rights and justice as produced through the pedagogies of museum practice, and these pedagogies come to educate the public about acts of discrimination, cultural inequality, violence, and genocide that have occurred in Canada. Such contributions position museums as public institutions as valuable to 21st century rights-based research in Canada. / Graduate

This thesis investigates the contested processes of displaying “Turkishness” in competing state museums in Turkey at a time when over the last decade secularist- Kemalist state power has been overturned under neo-Islamist Justice and Development Party government. It poses the question: how are the oppositionary - namely secular Republican and Islamic Ottoman - pasts of “Turkishness” remembered, forgotten, and negotiated in Anıtkabir, Atatürk’s mausoleum, and Topkapı Palace Museum, the imperial house at a time of flux in Turkey? Anıtkabir, under the command of the Turkish Armed Forces, the guardian of secularism, and Topkapı Palace, linked to the Ministry of Culture and Tourism, an arm of the government, are more than pedagogical warehouses of the state, displaying contending pasts. They are state institutions, endowed with diverse power sources in exhibiting the binaries of “Turkishness” polarised between West-modern-secular and East-backward-Islam. Through an ethnography of these agencies of the state, this research traces the negotiation processes of exhibiting the competing pasts of “Turkishness”. The focus of this study is twofold. First, it explores how different bureaucratic practices in Anıtkabir and Topkapı Palace museums act as power mechanisms among museum staff and vis-à-vis visitors. Second, it looks at the ensuing representations of “Turkishness”. Competing traditions and national days pertaining to Islamic Ottoman and secular Republican histories are re-invented through museum events, which fall beyond the bureaucracy of exhibition-making. However, formal / informal processes of exhibition-making in both museums reveal that binaries of “Turkishness” are challenged and deliberated through contested exhibitionary practices. In Topkapı Palace Museum, a Westernised-modernised image of imperial life is portrayed, while Anıtkabir simultaneously re-sacralises and humanises Atatürk’s cult. Therefore, this study argues that binaries of “Turkishness” are not irreconcilable; rather they are reversed, negotiated, and transformed in the quest for state power in the everyday practices of these museum bureaucracies.

In the twentieth century, collecting became a core activity of local authority art galleries and museums in Britain. A key feature of these art collections was the representation of Twentieth Century British Art. The aim of this study is to examine, for the first time, this development as abroad cultural phenomenon, through the distinctive roles played by central government-funded, and independent national and provincial art collection schemes. The central government-funded art collection schemes are the V. & A Purchase Grant Fund, War Artists' Advisory Committee and the National Heritage Memorial Fund; and the national loan and exhibition schemes offered by the Tate Gallery and the Arts Council. Independent schemes are more numerous and varied. These were administered by the National Art Collections Fund (now the Art Fund), Contemporary Art Society, Scottish Modem Arts Association, Contemporary Art Society for Wales, Henry Moore Foundation and Gulbenkian Foundation. In addition, there were the independent national loan and exhibition schemes offered by the Museums Association, Peter Stuyvesant Foundation and Alistair McAlpine and provincial schemes based in Manchester (Charles Rutherston Loan Scheme), Cardiff (National Museum of Wales Loan Scheme), Liverpool ('John Moores' competition-exhibitions) and Bradford ('International Print Biennale' competition-exhibitions). Given the geographical coverage, historical scope and focus of this study, a substantial body of published and unpublished literature was consulted. The wide-range of sources examined included institutional histories, biographies and studies of Twentieth-Century British Art; permanent collection and exhibition catalogues; newspaper, journal and magazine articles, curatorial records and correspondence; institutional records and correspondence; archival material and reports; and . correspondence and interviews. This entailed the discovery of much new material and the collation of substantial random data held by the Contemporary Art Society and the Gulbenkian Foundation This research seeks to show that local authority collecting of Twentieth-Century British Art was part of a nation-wide cultural pattern determined by certain ideas, theories and policies. Within this context, Section 1 identifies and discusses the nature and purpose of public art galleries, muscums and their art collections from 1845-1945. This momentous period in the museum movement in Britain, it is argued, sustained and generated ideas, theories and policies which encompassed national institutional hierarchies and their models of collecting, high art aesthetic standards and scholarship linked connoisseurship; the organic structure of museums; and multifaceted education. It concludes that during this formative period, an enduring cultural framework was established, from which emerged key collecting impetuses which are art history, patronage and heritage. Sections 2 and 3 examine the roles played by central government-funded and independent schemes, as a response to these issues, which also engendered and reinforced the collecting of specific types of Twentieth Century British Art. Section'4 surveys the local authority collections, which participated in the schemes, and concludes that 1957-79 was a crucial period in post-war collecting, which was both facilitated by the emergence of a considerable and dynamic network of commercial art galleries, and enhanced by national and provincial measures to decentralize the arts. A principal conclusion is that the future of modem (twentieth-century) and contemporary (twenty-first- century) British art collecting, by local authority art galleries and museums, lies in its perception as part of a collective cultural enterprise, in which the intervention of collection schemes will, as in the past, play a fundamental role. Finally, there is also a strong argument for provincial institutions to feed into a national debate as to what is selected to represent both modem and contemporary British art practice in public collections in general.

Magister Artium - MA / The notion of what constitutes a nation has been a subject of many debates. The nation, like individual is the culmination of a long past of endeavours, sacrifice and devotion. The post aprtheid project of reconciliation in South Africa is part of this desire to live together as citizens of one country irrespective of past differences. This desire transforms itself to cultural institutions like museums or rather cultural institutions represents this desire in a more systematic way in the post apartheid South Africa as they seek to transform. / South Africa

Magister Artium - MA / The second half of the 1990's was marked by a significant reworking of memory and history in South Africa. WHilst the Truth and Reconciliation Commission (TRC) was involved in its hearings on amnesty applications and gross human rights violations, new museums were emerging and older ones began reshaping their displays. This thesis interrogated the changing representations of history, culture, identity and heritage in one South African city, Port Elizabeth, which in 2005 was re-named the Nelson Mandela Bay Municipal area. This discussion examined, at times, the historical era prior to South Africa's democracy and the period after the first democratic elections of 27 April 1994. / South Africa

This thesis explores how religion is being represented, interpreted, and discussed in Canadian museums. It draws from a sample of thirty-one semi-structured interviews with curators and museum professionals and from the author’s own observations of fifty-one museums in eleven provinces and territories across Canada to explore the themes of space, power, and identity as they relate to religion in Canadian museums. Using the theories of sacred space created by Knott, this thesis explores how Canadian museums are capable of becoming sacred spaces based on their ability to give visitors numinous experiences, to act as contested spaces, and to serve as a location of religion. Canadian museums are powerful, as argued by Bourdieu and Foucault, by their very nature as places that produce and define knowledge, through claims to objectivity and an emphasis on a progress narrative, giving museums (and curators) power to define what is and is not religious by deciding whether and how to discuss the religious aspects of an artefact, object, or culture. Within the context of these two themes, museums enact Ricoeur’s theory of narrative identity by telling stories about different groups in order to create and communicate their identities. Some museums present a homogenous Canadian identity based on white mainline Christian identity while others explore the complexity of Canadian identity by telling the stories of non-mainstream religious or ethnic groups and their participation in Canadian history. Aboriginal peoples in Canada have become involved in the display of their traditions in larger museums and have started creating their own museums and cultural centres where their voices can take precedence.

This thesis consists primarily of a detailed account of an experimental exhibition installed at the Museum of Anthropology, University of British Columbia. The exhibit is termed "experimental" because it was an attempt to do something new in the field of visual education and thereby to provide one possible solution to the problem of the increasing gap between museum and theoretical anthropology. In recent years this problem has become so acute that many academics can find nothing good at all to say about the work of museum-based anthropologists, let alone collaborate with them, and vice versa. While this fact in itself does not necessarily constitute cause for alarm, it seemed to this student that a great deal could be gained from a rapprochement of the two branches, and after careful consideration that the exhibition hall was an excellent place to demonstrate this. To this end I designed an exhibit which uses the most important assets of any museum — its collections — in a new way: instead of the artifacts being ends in themselves, they are employed as means for conveying one of the current issues of theoretical anthropology — the concept of exchange, and the whole display is arranged to raise questions, rather than answer them, and to stimulate new thinking. In this way it was hoped to demonstrate the possibility of introducing into the museum some of the exciting ideas under study by the theorists, and at the same time to indicate the advantages of looking at some of these concepts from the point of view of the goods involved. / Arts, Faculty of / Anthropology, Department of / Graduate

Cross cultural education in art museums is an interesting and complex issue. While cultural exhibitions have received attention in research, studies have usually focused on the nature of the exhibitions and have not explored the audience's understanding about culture in relationship to the exhibition. This qualitative study explores how and what First Nations cultures have been mediated by a civic art museum and negotiated by the museum audience, and the relationship between the two. Observations of the exhibition and audience and interviews with 99 adults in the museum were collected and analyzed to identify patterns and relationships. Analysis of the exhibition found the mediation of culture was distinguished by a partnership of the museum and First Nations cultures which reflected both their languages and voices. Audience responses illustrated a range of affective, factual and conceptual responses. Positive affective responses reflected the stimulation and satisfaction with learning which occurred. Visitors indicated enlightenment, exposure and revision of previously held ideas and assumptions, similarities and differences among cultures, and insight into perspectives of others. Partnership between the museum and the exhibition of masks from Northwest First Nations cultures is seen as a complex undertaking requiring reflection and examination of these two cultures. Visitor responses to the exhibition indicates learning, thinking and innumerable ways individuals construct meanings and understanding from art museum experiences. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate