Thesis (Ph.D.)--Pennsylvania State University, 2007.

Thesis (M.A.) - Carleton University, 2004. / Includes bibliographical references (p. 122-135). Also available in electronic format on the Internet.

Thesis (B.A.)--Haverford College, Dept. of Religion, 2009. / Includes bibliographical references.

This thesis presents results of a research on a topic that has not been studied yet. The first part focuses on general questions and context - contemporary views on exhibition activities, the process of realization of the exhibition (exposition), typology of archival sources and their information value, nomenclature and projection of external influences (politics, censorship) into the exhibition activities. In the other part are (in a form of analysis of a concrete material) presented expositions of National Museum, it's exhibition activities between 1953-1962, expositions and exhibitions of a Mineralogical department and exposition of a Prehistorical department. A list of exhibitions corresponding to the current state of research is connected in the attachment. Key words: Exhibitions, expositions, National Museum, archival sources.

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-08-01T19:34:28Z No. of bitstreams: 1 2016 - Bruno Fraga Fernandes.pdf: 8234668 bytes, checksum: 6c57c2848af51f0672bd6dca5ac2d0f4 (MD5) / Made available in DSpace on 2017-08-01T19:34:28Z (GMT). No. of bitstreams: 1 2016 - Bruno Fraga Fernandes.pdf: 8234668 bytes, checksum: 6c57c2848af51f0672bd6dca5ac2d0f4 (MD5) Previous issue date: 2016-09-05 / CAPES / The purpose of this study is to analyze the consolidation of the Ecology in Brazil, starting from the contribution of two national scientific institutions in the foundation and systematization of a certain ecological thinking, making a historical research at the National Museum and at the Instituto Oswaldo Cruz. We defend the thesis that pioneering work in ecology were carried out at the mentioned institutions and that the researchers involved actively contributed to the consolidation and institutionalization of the ecological area in Brazil, between the years 1944 and 1976. This approach gave priority to the dialogue between the social history, environmental history and the history of science, by addressing the links between the social-political context of the First Republic and the Vargas period with the emergency of the ecological issues in Brazil. Subsequently, the decades of 1950-70 represented a period in which the development of ecological knowledge by scientists and national researchers analyzed in this study occurred in parallel to the appearance of environmental movements in increasing scale. Therefore, we call attention to the fact that the development of the Brazilian ecological thinking is related to institutional demands and its ecological diversity, while tropical country and with its own flora and fauna. As to the fact that the use we give to natural resources associated with social issues, is elucidator of a country possessing extreme social inequalities and always dependent on these resources. The weight of misuse lies directly on the part of the population most directly dependent on them, the most socially vulnerable. Historical studies on the environmental issue, linked to the different dimensions of scientific knowledge, only have to add the cognitive construction of possible articulations of the social process. / O objetivo deste trabalho ? analisar a consolida??o da Ecologia no Brasil, a partir da contribui??o de duas institui??es cient?ficas nacionais na forma??o e sistematiza??o de um determinado pensamento ecol?gico, realizando uma investiga??o hist?rica no Museu Nacional e no Instituto Oswaldo Cruz. Defendemos a tese de que foram realizados trabalhos pioneiros em Ecologia nas institui??es mencionadas e que os pesquisadores envolvidos contribu?ram ativamente para a consolida??o e institucionaliza??o da ?rea ecol?gica no Brasil, entre os anos de 1944 e 1976. Esta abordagem priorizou o di?logo entre a hist?ria social, a hist?ria ambiental e a hist?ria das ci?ncias, ao abordar as articula??es entre o contexto pol?tico-social da Primeira Rep?blica e do per?odo Varguista com a emerg?ncia das quest?es ecol?gicas no Brasil. Posteriormente, as d?cadas de 1950-70 representaram um per?odo em que o desenvolvimento do conhecimento ecol?gico por parte de cientistas e pesquisadores nacionais analisados no presente trabalho ocorreu paralelamente ? emerg?ncia de movimentos ambientalistas em escala crescente. Sendo assim, chamamos a aten??o para o fato de que o desenvolvimento do pensamento ecol?gico brasileiro est? relacionado ?s demandas institucionais e a sua diversidade ecol?gica, enquanto pa?s tropical e com uma fauna e flora pr?prias. Assim tamb?m como ao fato de que o uso que damos aos recursos naturais, associados ?s quest?es sociais, ? elucidador de um pa?s possuidor de desigualdades sociais extremadas e sempre dependentes destes recursos. O ?nus do mau uso recai diretamente sobre a parte da popula??o mais diretamente dependente deles, as mais fragilizadas socialmente. Estudos hist?ricos sobre a quest?o ambiental, vinculados ?s diferentes dimens?es de conhecimento cient?fico, s? t?m a acrescentar na constru??o cognitiva das articula??es poss?veis do processo social.

Museums can be productive sites for the study of society, because they are spaces where the constitution of knowledge about the past is made visible through public display. Playing an important role in the performance and legitimisation of national culture, museums in Scotland pay particular attention to the education of children. It is often claimed that children can gain an understanding of their history through physical engagement with museum collections. Both the ‘past’ and the ‘future’ are thus constituted within the museum. Through an exploration of children’s education at the National Museum of Scotland and The Lewis Chessmen: Unmasked touring exhibition, I argue that efforts by museums to exert control over ongoing processes through which subjects and objects, past and future, nations and heritage are constituted can be deeply challenged by children and museum objects, both of whose status remain inherently dynamic and unstable. Despite the museum’s claims to have “real things [objects] revealing stories”, objects rarely reveal narratives beyond those exerted upon them. They are, instead, materially and relationally constituted in particular places, at particular times. The same ‘instability’ applies to children visiting the museum. Children engage with the material stuff of the museum in surprising and unpredictable ways. This dynamic, multisensory interaction enables children to pursue personal projects, which do not necessarily adhere to the agendas of the museum. Yet, children often do go along with the museum’s narratives, commonly accepting what they are told by adults about the objects they are handling. They are also deeply concerned with the authenticity of these objects. Whether an objects is ‘real’ or not, however, is not necessarily judged by the same standards shared with the museum. Children’s awareness of a ‘real’ object’s metonymical presence not only enables an experiential encounter with the past, but also enables them to work out their own positions within the power structures of the museum; testing their own concerns relating to trust, truth, value and the process of becoming adults.

The theme of this master's thesis is "Marketing of the Vrchotovy Janovice Chateau". The Vrchotovy Janovice Chateau is one of the exhibitions of the National Museum outside Prague. The introductory part analyses the history of the castle from the point of view of its potential for marketing strategies. Another part deals with number of visitors of the castle as an important measure of successful marketing. Furthermore the thesis concentrates on application of the marketing tools and it analyses marketing of the castle by using SWOT analysis. The inseparable part of the thesis is a survey of the "chain guidance" and of the public awareness of the existence of the castle. The aim of the master's thesis is to evaluate the marketing potential of the Vrchotovy Janovice Chateau and its park, consider its current marketing tools and suggest improvement solutions for the future. Key words: Vrchotovy Janovice Chateau, Vrchotovy Janovice park, National Museum, Arts marketing, Chain guidance

The Proclaiming a Republic: The 1916 Rising (2016-2020) exhibition was opened by the National Museum of Ireland as a part of the Decade of Centenaries project to commemorate the Easter Rising. This thesis understands the exhibition as a place of memory, which on the occasion of the centenary represents the official memory of the rising, and it aims to analyze this memory. The exhibition is perceived through the SANE framework as a mnemonic formation and the emphasis is put on narrative of the exhibition. Analysis of which is based on presumptions of the new museology, according to which modern museums utilize either hegemonic (celebratory, status quo-maintaining) or counter-hegemonic (minority, status quo-denying) narratives. The content of the exhibition (texts, exhibits, photographs), which was documented by the author of this thesis during repeated visits in 2017 and 2018, is subjected to thematic analysis. By applying the thematic network method, nine so-called global themes - macro-themes depicting who / what, how and by what is the exhibition commemorating - are identified within the narrative of the exhibition. The thesis determines that the exhibition, despite expectations of the new museology, reinforces traditional myths of the Easter Rising and employs predominantly dominant narratives....

O presente trabalho de mestrado propôs identificar as narrativas que se estabeleceram no projeto que buscou modernizar o Museu Nacional da Colômbia, na administração de Emma Araújo de Vallejo entre 1975 e 1982, a partir da confluência de três campos, a História Cultural, a História da Educação e a Museologia. Pode-se estabelecer que a proposta abrangeu dois aspectos: a reorganização administrativa do museu e a readequação das salas de exposição, que incluiu uma intervenção arquitetônica ao edifício. Metodologicamente o trabalho vincula-se ao conceito de Morales Moreno de interferência museográfica e ao referido por Zita Possamai e Marília Xavier Cury sobre o processo de musealização, para o tratamento dos documentos textuais: manuscritos, registros das comissões estruturadas (de Arquitetura, de História e da Arte), contratos, estudos arquitetônicos, propostas e relatórios, como para os de caráter mais visual: catálogos, fotografias, planos, desenhos, entre outros, entendendo que a narrativa histórica de um museu é por sua natureza diferente à encontrada no documento escrito. As discussões teóricas são determinadas em dois âmbitos, o que se refere a entender o museu como lugar da memória e as suas implicações; e o refletir sobre o que faz que um museu seja nacional. Para isto, autores como Myrian Sepúlveda dos Santos, Regina Abreu, Luis Gerardo Morales Moreno, Beatriz González, Ana Claudia Fonseca Brefe, Camilo de Mello Vasconcelos e Cecília Oliveira contribuem para a discussão, entendendo o museu como um lugar de reelaboração da memória e as narrativas como representações, o que converte este espaço em local de disputas. O trabalho salienta que o objetivo central deste projeto é duplo: tornar o museu um grande livro de história e fazer uma atualização face as novas correntes da Museologia. Deste modo, o Museu Nacional alcançava a qualificação constante do pessoal, a diversificação de serviços para o público, a criação do Departamento Educativo e uma gestão consciente das suas coleções. Sobre a exposição de longa duração é observado que o segundo andar, que corresponde às salas de história, não rompe a periodização tradicional e, além disso, se salienta a origem da nação nas figuras de Bolívar e Santander como pessoas eminentes da Independência. No terceiro andar, nas salas de belas artes, não só se encontram os artistas que tradicionalmente eram expostos, mas também foi incluída a vanguarda conformada pelos “novos”. As influências que o museu recebe são de Ulrich Löber, no período assessor internacional, de Pierre Francastel e Marta Traba, por intermédio da diretora, e da Colcultura e da ACOM, os quais instauraram os debates sobre museus na Colômbia. Conclui-se que a consciência do poder que possui o museu para incluir e excluir, através das suas narrativas, poderia ser o grande ensino desta administração, em um momento onde todos pedem o seu espaço de representação. / This master´s thesis proposes to identify the narratives that were established in the project that tried to modernize the National Museum of Colombia, under Emma Araújo's management between 1975 and 1982, from three fields, the Cultural History, the History of the Education and the Museology. It was possible to define that the offer contained two aspects: the administrative reorganization of the museum and the re adequacy of the exhibition, which included an architectural intervention to the building. Methodologically, adheres to the proposed for Morales about the concept of “interferencia museográfica” and which was said by Possamai and Cury about of the “procesos de musealización”, for the treatment so much for the textual documents: scripts, the acts of the commissions (of Architecture, History and Art), contracts, architectural studies, offers and reports, since of the visual ones: catalogues, photography’s, planes, drawings, among others, understanding that the historical own narrative of a museum is for his nature different from the contained one in the written document. The theoretical discussions are given in two areas: the museum as place of memory and his implications, and the reflections about what does that a museum a national one. For this, authors like Maria Sepúlveda dos Santos, Regina Abreu, Luis Morales, Beatriz Gonzalez, Ana Maria Brefe, Camilo de Mello Vasconcelos, and Cecilia Olivieira open the discussion understanding the museum as a place of reproduction of the memory and considerate the narratives as representations, which turns this space place of disputes. The work highlights that the central aim of this project was double: the museum turns a great book of history, and putting to the currents ideas about museology. From this, the National Museum achieves a constant training of the staff, the diversification of services for the public, the creation of the Educational Department, and a conscious management of collections. As for the exhibition is observed that the second floor, which they correspond to the rooms of history, does not break with the habitual periodization, and highlights the origin of the nation in the figures of Bolivar and Santander as leaders of the Independence. In the third floor, the rooms of arts, they show not only the artists who traditionally had been there, but they included the vanguard of the new ones. The influences that this new museum receives are from Ulrich Löber, as international adviser, of Pierre Francastel and Marta Traba, across his director, and of Colcultura and ACOM, who implant the debates on museums in Colombia. It concludes that the conscience of the power that possesses the museum to include and to exclude across his narratives might be the great education of this administration, in a moment where they all ask for his space of representation. / Este trabajo de maestría se propone identificar las narrativas que se establecieron en el proyecto que pretendió modernizar el Museo Nacional de Colombia, bajo la gestión de Emma Araújo de Vallejo entre 1975 y 1982, desde tres campos, la Historia Cultural, la Historia de la Educación y la Museología. Se pudo definir que la propuesta contuvo dos aspectos: la reorganización administrativa del museo y la readecuación del montaje, que incluyó una intervención arquitectónica al edificio. Metodológicamente se adhiere a lo propuesto por Morales sobre la interferencia museográfica y lo dicho por Possamai y Cury sobre los procesos de musealización, para el tratamiento tanto de los documentos textuales: guiones, las actas de las comisiones conformadas (de Arquitectura, de Historia y de Arte), contratos, estudios arquitectónicos, propuestas e informes, como de los visuales: catálogos, fotografías, planos, dibujos, entre otros, entendiendo que la narrativa histórica propia de un museo es por su naturaleza diferente a la contenida en el documento escrito. Las discusiones teóricas se dan en dos ámbitos, el que se refiere al entender al museo como lugar de memoria y sus implicaciones, y el de pensar qué hace que un museo sea nacional. Para esto, autores como María Sepúlveda dos Santos, Regina Abreu, Luis Morales, Beatriz González, Ana Maria Brefe, Camilo de Mello Vasconcelos, y Cecilia Olivieira abren la discusión entendiendo el museo como un lugar de reelaboración de la memoria y entendiendo las narrativas como representaciones, lo cual convierte este espacio en lugar de disputas. El trabajo resalta que el objetivo central de este proyecto fue doble: volver el museo un gran libro de historia, y el de ponerlo al corriente de las actuales corrientes de la museología. De esta forma, el Museo Nacional logra una constante capacitación del personal, la diversificación de servicios para el público, la creación del Departamento Educativo, y una consciente gestión de colecciones. En cuanto al montaje de la exposición de larga duración, se observa que el segundo piso, que corresponden a las salas de historia, no rompe con la periodización habitual, y resalta el origen de la nación en las figuras de Bolívar y Santander como próceres de la Independencia. En el tercer piso, las salas de bellas artes, se reúnen no sólo a los artistas que tradicionalmente habían estado ahí, sino que incluyeron a la vanguardia conformada por los nuevos. Las influencias que recibe este nuevo museo vienen dadas por Ulrich Löber, como asesor internacional, de Pierre Francastel y Marta Traba, a través de su directora, y de Colcultura y ACOM, quienes implantan los debates sobre museos en Colombia. Se concluye que la conciencia del poder que posee el museo para incluir y excluir a través de sus narrativas podría ser la gran enseñanza de esta administración, en un momento donde todos piden su espacio de representación.

The National Museum of Australia (NMA) (1997- 2001) by architects Ashton Raggatt McDougall (ARM) in association with Robert Peck von Hartel Trethowan was commissioned by the Australian Commonwealth Government for the Centenary of Federation in 2001. It was conceived as a gift to the people of Australia and now stands on Acton Peninsula in Canberra, the nation's Capital. It is a visually complex manifestation of the design architects' (ARM) dialogue with the ambiguities of Australian history and national identity. The architectural realisation of these complexities was facilitated through advances in computer technologies and a complementary non-traditional procurement method, both at the leading edge of Australian architectural practice of the time. Completed three years earlier was probably the most debated work of architecture of the 1990s, the Guggenheim Museum (GMB) (1991-98) in Bilbao, Spain, by Frank O. Gehry and Associates (FOG&A). This satellite museum of the Guggenheim Foundation of New York was heralded as the quintessential example of a kind of architecture only possible because of advances in computer technologies. Both visually complex museums were conceived as flagship projects and consequently share many political, functional, and cultural expectations. Both were procured outside the usual adversarial designer/builder paradigm of western architecture and featured the innovative use of three-dimensional (CAD) software for design, documentation and analysis. The NMA project used a government instigated procurement method which was embraced by a group of design and construction companies who formed a joint venture known as the Acton Peninsula Alliance. This non-traditional or relationship-based procurement method required ARM to reassess their approach to generate and disseminate design data and their traditional relationship with other design and construction professionals. As part of this process, ARM were required to devolve some of their design authority to a project delivery team via a Design Integrity Panel and an Independent Quality Panel; both innovations integral to the Acton Peninsula Alliance. The NMA project reframed many of the enduring professional relationships of Australian architecture and in so doing extended the skill set and expectations of the architects and others to include a more substantial engagement with 3D CAD and a procurement system which was less subject to many of the common impediments inherent in the more traditional processes. Through a series of interviews with the architects and other stakeholders, a qualitative methodology was used to investigate the NMA as a case study which uses the GMB as an internationally recognised comparison. This thesis examines how these two projects have been successfully completed within time and budgetary constraints in an environment where flagship projects have had a history of highly publicised difficulties. It reveals that the successful realisation of the NMA was due to the relationships built or reframed as a result of this cooperative approach in conjunction with high levels of engagement with computer technologies. This is in contrast to the seamless flow of data and high levels of prefabrication integral to the success of the GMB. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1255317 / Thesis (Ph.D.) -- University of Adelaide, School of Architecture, Landscape Architecture and Urban Design, 2006.