A B S T R A C T Almost every day each of us can read or hear in the media a lot of distorted information concerning HIV or AIDS. Therefore it is necessary to have knowledge about the possible risks of HIV transmission and all ways the HIV can be transferred. These attitudes and preventive measures of knowledge should be developed in high school students who are experiencing very rapid physical and psychosocial growth. Sufficient amount of information available in the problem group of 15-24 year olds has a positive impact on their sexual behavior and thus on prevention. My research methods of knowledge about HIV were done in two schools, one is an eight-year high school, where 24 students of fifth year were questioned and second is a four- year high school, where 24 students of first year were questioned. I used a cross-sectional pre-test and post-test. Students of the fifth year were taken deeper into the problems through creation of posters on topics connected with the problem of HIV. The aim of my research is to develop proposals for the scientific conference, which will be lead by the students and will be accompanied by the created images (posters). This is a non-violent way of repeating the HIV prevention. Creating a pre-test and post-test to determine the extent of knowledge gained after completing the...

Title of the thesis: Art and architecture of the Ethnographic exhibition 1895 The topic of the presented diploma thesis is the reconstruction of artist and item list presented on the Ethnographic exhibition of 1895, which was held in the premises of Holešovice Fairground in Prague from May 15 to September 28, 1895. Despite being one of the most important exhibition events held in Bohemia in the 19th Century (Jubilee Exhibition of 1891 - Ethnographic Exhibition of 1895 - Architecture and Engineering Exhibition 1898), it has not yet been systematically covered - not even from the history of art perspective. Based on the original material (leaflets, catalogues, guide-books) the thesis attempts to re- introduce the original public image of the exhibition and the character of the exposed items. The chapters of the thesis deal with the exhibition banner, the architecture (The Old Prague and Sample Village exhibitions), paintings, sculptures, commercial art (exhibition souvenirs). The thesis also attempts to trace the items and sketch their fate after the exhibition was over.

O presente trabalho apresenta a exposição de longa-duração do Memorial Minas Gerais Vale, analisando-a a partir de sua narrativa expográfica, cuja ênfase recai sobre a noção de mineiridade. A partir da interlocução de agentes envolvidos na curadoria da exposição, ressaltamos os pontos que reiteram o tema da mineiridade, sendo ela baseada sobretudo no discurso modernista e em bens patrimoniais, porém, reapropriada e ressignificada na concepção desse museu e de sua exposição inaugural. As opções curatoriais também se relacionam diretamente a interesses do governo estadual de Minas Gerais, bem como aos da empresa patrocinadora e mantenedora do museu, a Vale S.A. O Memorial se apresenta como \"museu de experiência\", utilizando uma linguagem expográfica contemporânea, com amplo uso de mídias digitais. A análise, portanto, de seus aspectos sensoriais e de atração de público é fundamental para se compreender os conteúdos em exposição e sua forma celebrativa de lidar restritivamente com a diversidade cultural mineira. Sua abordagem é seletiva e os elementos nela destacados, dispostos em salas expositivas, tornam-se ativos culturais, revalorizando um imaginário sobre Minas Gerais que tem servido ao público local, mas, também, e especialmente, ao turismo. / This research presents the long-term exhibition of the Minas Gerais Vale Memorial, analyzing it from its expographic narrative, whose emphasis falls on the notion of mineiridade. Using the interlocution of agents involved in the curatorship of the exhibition, we draw points that reiterate the theme of mineiridade, which is based on the modernist discourse and on heritage assets, but re-appropriated and re-signified in the design of the museum and it is inaugural exhibition. The curatorial options are also directly related to the interests of the state government of Minas Gerais, as well as to the company sponsor and maintainer of the museum, Vale S.A. The Memorial presents itself as a \"museum of experience\", using a contemporary expographic language, with wide use of digital media. The analysis, therefore, of its sensorial aspects and of public attraction is fundamental to understand the contents on display and its celebratory way of dealing restrictively with the cultural diversity of Minas Gerais. This diversity is selective and the elements highlighted there, once inside the Memorial, arranged in exhibition rooms, become cultural assets, revaluing an imaginary about Minas Gerais that has served the local public, but, also, and especially, tourism.

(In)audíveis é um uma plataforma teórico-prático, que pensa mecanismos de reflexividade e de produção de uma audiência crítica, nos projetos de arte contemporânea com que se relaciona - como trabalho de minha própria localização diante do estado atual da Arte. Esta tese alinha-se às práticas artísticas de cunho estético-político e a questão documental. A produção teórico-prático desta pesquisa pautase primeiramente nas experiências artísticas dos anos de 1960 e 1970, por estar identificada com a forma de produção e pensamento auto-reflexivo e críticos de seu contexto. A pesquisa aqui apresentada, no entanto, tratará de identificar estes aspectos políticos como documentais hoje, pelo paradigma das práticas discursivas- o problema da espacialização dos discursos na forma fílmica e instalativa (Vídeo-Instalação e Cinema de Exposição). / (In)audibles is a theoretical-practical platform for thinking the mechanisms of reflexivity and of production of a critical audience in the contemporary art projects with which it relates to - as work of my own localization before the present state of Art. This thesis is related to artistic practices of an aesthetic-political bias and to the issue of documentation. The theoretical-practical production of this thesis is grounded first on the artistic experiments of the 1960\'s and 1970\'s, because they are identified with the kind of production and selfreflexive and critical thought of such context. The research here presented, however, will seek to identify such political aspects as documental aspects of the present day, by means of the paradigm of discursive practices- the problem of discourse spatialization in the filmic and installation forms (Video Installation and Exhibition Cinema).

Made available in DSpace on 2016-04-26T14:55:13Z (GMT). No. of bitstreams: 1 Marlene Matias.pdf: 15419416 bytes, checksum: 957fef7c455a5eac735efcb637678aca (MD5) Previous issue date: 2015-03-18 / The Universal Exhibition is a kind of mega event, which for its planning, organization and implementation, causes a number of political, economic, social and urban interventions in the host cities. After the events, these interventions stay available for the population and also to be used by the Tourism. The objective proposed by this study was to identify these interventions considered legacies, to categorize them and to verify that they are being utilized by the Tourism. The survey was conducted to search concerned answers as: why countries and/or cities are so committed to host this kind of event? Which legacy this kind of event leaves to the host cities? This legacy is related to the tourism industry? In order to find these answers, the research was structured in theoretical axes that showed how the activity/fair emerged, since its origin and evolution until being an universal exhibition, the institutionalization and the regulation of the universal exhibition; how is the planning, organization, conduction, closure and results of the universal exhibition, the possible legacies and their relations with Tourism. This made it possible to and the hypothesis that the legacy left by universal exhibition (registered) is being exploited by tourism or only by the event tourism. It was concluded that the universal exhibition always leaves some kind of legacy in the host cities, and, that its use by both the population and the tourism, depends on the destination that the social actor involved in organizing the event will give to these goods / As Exposições Universais são um tipo de megaevento, que para seu planejamento, organização e realização, provocam uma série de intervenções políticas, econômicas, sociais e urbanas, nas cidades sede. Após o seu acontecimento essas intervenções ficam à disposição da população e também para ser usufruída pelo Turismo. O objetivo proposto pelo trabalho foi identificar essas intervenções consideradas legados, categorizá-las e verificar se estão sendo aproveitadas pelo Turismo. A pesquisa foi realizada em busca de respostas para inquietudes, como: por que os países e/ou cidades sedes se empenham tanto para sediar esse tipo de evento? Quais os legados que esse tipo de evento deixa para as cidades sedes? Esses legados possuem alguma relação com a atividade turística? Para encontrar essas respostas a pesquisa foi estruturada em eixos teóricos que mostraram como a atividade-feira surgiu, desde sua origem e evolução até chegar às exposições universais; a institucionalização e regulamentação das exposições universais; como acontece o planejamento, a organização, a realização, o encerramento e os resultados das exposições universais; os possíveis legados e a suas relações com o turismo. Isso possibilitou responder a hipótese levantada se os legados deixados pelas exposições universais (registradas) estão sendo aproveitados pelo Turismo ou somente pelo Turismo de Eventos. Concluiu-se que as Exposições Universais sempre deixam algum tipo de legado nas cidades sede e, que o seu aproveitamento tanto pela população quanto pelo Turismo, dependerá do destino que os atores sociais envolvidos na organização do evento darão a esses bens

This thesis – ‘Cinema on the Front Line: A History of Military Cinema Exhibition and Soldier Spectatorship during the First World War’ - provides an overview and examination of an element of British cinema history that remains largely undocumented within the disciplines of Film Studies and military history. Built upon highly original and extensive research, the thesis documents how the cinema intersected with the lives of British and dominion soldiers at practically every stage of their military career: from recruitment drives to the front line and, finally, in the convalescent hospitals and camps that attempted to rehabilitate an entire generation. By bringing this largely unknown history to light, the thesis dismantles many previously held assumptions regarding British cinema exhibition during the First World War, documenting how a significant percentage of the cinema-going public – British soldiers – still engaged with cinema entertainment outside of the commercial theatrical venue. As a study of historical exhibition, it documents the scale and orchestration of the British Expeditionary Force’s implementation of cinema entertainment on the Western front between 1914 and 1918. Significantly, it is also argued that, as a historically specific demographic, British soldiers represented an actively discerning and uniquely positioned body of wartime spectators, particularly in relation to the output of topical films and newsreels which purported to document the realities of the conflict. Accounting for this hidden history of wartime film spectatorship within extraordinary and unconventional sites of exhibition, the thesis challenges established ideas regarding the practices and concerns of film exhibitors, the behaviour and preferences of wartime audiences, and the significance and impact of the material conditions in which films were exhibited.

The author designs a traveling professional development opportunity, Pre-Exhibition Workshop, for the Springville Museum of Art (SMA) Educational Outreach Program. All Utah high school art teachers and their students are invited to attend one of twenty-five presentations throughout the state's school districts. This thesis examines the challenges and benefits of including students in the process of preparing their own entries for the 2014 42nd Annual Utah All-State High School Art Show. The curriculum for the workshop follows a new lesson plan model of including enduring understandings and essential questions as outlined by the 2014 National Core Art Standards. The question driving this research project is: Will the schools that participate in a pre-exhibition workshop be better prepared to submit quality entries into the 2014 42nd Annual Utah All-State High School Art Show and be more likely to schedule a field trip to experience the exhibition? To develop the SMA Pre-Exhibition Workshop, the researcher applies a case study methodology that includes some aspects of action research including planning, acting, reviewing, and revising. The collected data measures the effectiveness of this workshop by analyzing observation notes collected during the workshop, reviewing surveys completed by participating teachers, and comparing the SMA 2014 42nd Annual Utah All-State High School Art Show entry data with the data collected from the attendees of the SMA Pre-Exhibition Workshop. It was concluded that most schools participating stated that the workshop did benefit their students by helping them prepare to submit their own art entries. Of the students attending the workshop, none were disqualified from the 2014 42nd Annual Utah All-State High School Art Show due to rule infringements, and several of the participating schools went on a field trip to view the exhibition. In conclusion, the author recommends that the SMA Pre-Exhibition Workshop continue and suggests ways of improving the program's promotions, presentation, and data collection.

Ce travail constitue la première thèse intégralement consacrée à l’exposition internationale de musique et de théâtre qui s’est tenue à Vienne en 1892. Il s’inscrit dans la continuité des recherches menées sur les expositions universelles et analyse le cadre général de l’exposition depuis sa genèse jusqu’à sa clôture, la scénographie, les différents événements et les principaux acteurs afin d’en comprendre le fonctionnement, la densité mais aussi la complexité. Une place importante est accordée aux échos que l’exposition rencontra dans la presse autrichienne et française. Parallèlement, il associe une étude des enjeux identitaires de l’exposition avec une analyse du point de vue de l’histoire de la vie musicale et de l’histoire des sciences musicales. Les contradictions entre l’idée de départ du projet et sa réalisation finale sont prises en compte, tout comme la diversité du public, la place des peuples de l’Empire ou encore celle des pays lointains présentés dans la section ethnographique. Ces interactions permettent d’aborder la « culture viennoise » comme réponse aux tensions de la fin de siècle et d’analyser les procédés mis en œuvre pour la définir. La question de la réception de l’exposition soulève aussi celle de la mise en scène du passé viennois et d’une tradition viennoise revisitée (reconstruction du vieux Vienne, renaissance du théâtre populaire) face aux transformations issues de l’industrialisation et de la transformation de la société. En croisant ces approches, il s’agit d’analyser en profondeur les enjeux et les conséquences de ce projet, dans le cadre d’une histoire culturelle sensible à leur dimension politique, artistique et scientifique. / This work is the first thesis entirely devoted to the international exhibition of music and theater organized in Vienna in 1892. It is in line with the research carried out on universal exhibitions and analyses the general framework of the exhibition from its genesis to its closure, the scenography, the various events and those involved in order to understand its functioning, its density but also its complexity. An important place is given to the repercussions that the exhibition will have on the Austrian and French press. This thesis aims at the same time to combine a study of the identity issues of this exhibition with analysis from the point of view of the history of musical life and the history of musical sciences. The contradictions between the initial idea of the project and its final realization are taken into account, as well as the diversity of the public, the place of the peoples of the Empire or that of distant countries presented in the ethnographic department. These interactions make it possible to approach “Viennese culture” as a response to the tensions of the end of the century and to analyse the processes used to define it. The question of the reception of the exhibition also raises the question of the staging of the Viennese past and a revisited Viennese tradition (reconstruction of the old Vienna, rebirth of popular theater) in face of the transformations resulting from industrialization and the transformation of society. By joining these approaches, it will be possible to analyze in depth the stakes and consequences of this project, within the framework of a cultural history responsive to their political, artistic and scientific dimension.

A l’instar d’autres médiums, la muséologie permet de rendre compte d’une manière dont l’homme s’approprie spécifiquement la réalité. Cette dernière consiste à y sélectionner des objets, à les prélever, puis à les agencer dans le cadre d’expérience que constitue le musée afin de créer ce que l’on appelle une réalité muséalisée : addition de savoirs contenus dans les objets, manifestés par l’exposition, puis proposés à l’acquisition par l’intermédiaire de sa visite. Cette relation spécifique de l’homme à la réalité est appelée muséalité et telle que ci-dessus relatée, renvoie aux travaux du muséologue Zbynĕk Zbyslav Stránský pour qui la collection d’objets revêt une place centrale au sein du système muséal. Mais à l’heure du numérique connecté et de la possibilité que nous avons de voir les éléments de la réalité sans se trouver physiquement en leur présence, l’importance accordée à la collection d’objets par Stránský semble rendre sa conception de la muséalité obsolète à penser la muséologie. Prenant par conséquent appui sur les travaux du sociologue et philosophe Hartmut Rosa, et notamment sur leur désignation du rôle joué par la perception olfactive dans la qualité de notre relation au monde, la présente recherche s’attache à démontrer que si inadéquation il y a entre les théories de Stránský et l’actualité de l’appropriation de la réalité par l’homme, elle n’incombe pas tant à la dimension physique des objets de musées, qu’à la mono-sensorialité des moyens dont il nous est permis de les entretenir. Alliant la théorie à la pratique, ce travail argumente le fait qu’actualisé au prisme du concept de résonance proposé par Rosa, les travaux de Stránský jouissent encore d’une légitimité à penser les muséologies d’aujourd’hui et de demain. / Like other mediums, museology shows a way in which man specifically appropriates reality. It consists in selecting objects from it, taking them out and arranging them in the museum's experimental setting in order to create what is called a musealized reality: addition of knowledge contained in objects, manifested by the exhibition, and offered for acquisition through the visit. This specific relation of man to reality is called museality and as mentioned above, refers to the work of the museologist Zbynĕk Zbyslav Stránský for whom the collection of objects is central to the museum system.But in the age of digital and the possibility that we have to see the elements of reality without being physically with them, the importance given to the collection of objects by Stránský seems to make his conception of museality obsolete to think museology.Taking as a result the work of the sociologist and philosopher Hartmut Rosa, and in particular his designation of the role played by olfactory perception in the quality of our relationship with the world, the present research endeavors to demonstrate that if there is a mismatch between Stránský's theories and the actuality of the appropriation of reality by man, it is not so much because of the physical dimension of museum objects than the mono-sensoriality of the means of which we are allowed to maintain them. Combining theory with practice, this work argues that, updated by the concept of resonance proposed by Rosa, Stránský's works still have a legitimacy to think about museologies of today and tomorrow.

This thesis discusses some aspects of the exhibition designer's role in state museums and galleries. It draws on the author's experiences in Singapore and his observations as a student living in Sydney. Museum exhibition designers are servants of the state. They help create public culture and promote a version of history. But if one is to understand the ways in which designers create meaning (and serve their employer's interests) we need to identify the 'vocabulary' and 'grammar' that they have at their disposal. To this end, the thesis outlines the variables that they work with and argues that they need to understand their employer's ideologies and history. The design vocabulary and grammar that the exhibition designer works with to create meaning in bridging understanding needs to be commensurate with the knowledge of history and the primary ideologies of the state which he/she serves. Singapore's recent interest in arts and heritage museums as part of a larger desire for regional economic and cultural survival and pre-eminence needs to be identified with the evolution, interconnectedness and ambitions of Singapore's arts and cultural organisations. In conjunction, some of the implications of Singapore's Arts and Heritage Policy need to be unpacked. A brief but concise comparative history of Sydney, Australia is made for the arts, cultural and museum comparison between Australia and Singapore. The exhibition designer's vocabulary and grammar can then be used to evaluate four exhibitions in Sydney and Singapore. This dissertation addresses the issues of 'Asian-ness' , modernisation without westernisation and the state's desire to meet the challenges which global communication systems place upon Singapore citizen's welfare. The dissertation is very art focused. It discusses all display objects as though they were paintings and works of fine art / Master of Arts (Hons)