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The aim of this study is to critically examine how the theoretical concepts of gender arrangement, gender regime and masculinity become visible on a historical museum's website and how an analysis of gender arrangement, gender regime and masculinity can be understood with an intersectional perspective on gender, class, and religion. The study is guided by a social constructivist approach. The museum Livrustkammaren's digital web exhibition 500 Years of Royal History is analyzed using a thematic analysis method. As a complement, a multimodal analysis method is used to understand and analyze the relationship between image and text in the exhibition. The exhibition consists of six rooms linked to different eras where royals are represented, and events associated to them are described. The analysis finds that the museum has and use a gender perspective but that it needs to be highlighted and more widely used in the exhibition. Women are often represented as passive and submissive, while the representation of men presents them as active and dominant. Though there are other representations where women are highlighted and men’s struggle with gender roles are made visible, the gender perspective can be clearer. Sometimes there is a normalization of traditional gender roles in history that can be highlighted and problematized instead of being normalized. / <p>2022-06-02</p>

The principal research question of this study is framed as: Do prevailing, industrially and politically sourced definitions of Digital Exhibition faithfully represent the phenomenon¿s position within the contemporary media theory framework? Within this work Digital Exhibition is defined as: The practice of presenting moving images, either live or pre-recorded, to paying audiences, in public spaces, by means of digital distribution and projection. The majority of established literatures concerning Digital Exhibition are aimed at producing categorical definitions of the phenomenon. These ¿meaning making¿ discourses commonly stem from potentially ideologically affected sources. To address this issue, the author has investigated the political economy of key commentators, and Digital Exhibition has been impartially researched following a ¿case studies¿ methodology; with an analytical framework based upon a series of ¿plausible rival hypotheses¿. These hypotheses include that Digital Exhibition isM ¿ a form of the cinema ¿ a form of television ¿ a new (new media) medium ¿ multiple media ¿ not a medium It is presented that each investigated hypothesis can be argued to be legitimate when employing established media theories as the means of rationalisation. Nevertheless, the author concludes that individual industrially / politically charged definitions still do not provide an adequately comprehensive account as to the wealth of interpretations that can be drawn for Digital Exhibition. The author also presents his own perspective as to the subjective nature of contemporary media taxonomies, and ultimately proposes that Digital Exhibition is not a medium, but is a designation offered to a subjectively defined collection of events made possible through the transmission of computational binary pulse signals.

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[pt] Esta dissertação versa sobre os significados do ingresso e usos do design dentro de espaços museológicos. É importante ressaltar que tal uso deve ser observado em consonância com as inúmeras relações existentes e estabelecidas nesses locais, que se articulam entre as instituições mantenedoras do patrimônio histórico, suas obras e exposições, e seus visitantes. Tais relações são complexas e multifacetadas, devendo ser observadas e estudadas dentro de um contexto histórico específico, abrangendo o âmbito social, político-cultural e econômico. Dessa forma, esta pesquisa tem como objetivo mais amplo examinar as motivações, bases e limites da inserção e uso do design, bem como, em decorrência, as alterações que inscreveu no próprio conceito de museu. Sem olvidar os diversos profissionais envolvidos nas supracitadas relações, ressaltamos o papel do designer dentro desses limites, e de que maneira esses especialistas atuam e servem aos museus, investigando que tipo de contribuição são capazes de agregar para os estudos do Campo do Design. Assim, uma das diversas questões a ser problematizada e discutida é pertinente às facilidades que a sua aplicação pode provocar, e, ainda, o alcance e a inclusão social que é capaz de promover. / [en] This dissertation deals with the meanings of entrance and uses of design within museum spaces. It is important to emphasize that such use must be observed in harmony with the numerous relationships existing and established in these places, which are articulated between the institutions that maintain the historical heritage, its works and exhibitions, and its visitors. Such relationships are complex and multifaceted, and should be observed and studied within a specific historical context, covering the social, political-cultural and economic spheres. Thus, this research has as its main objective to examine the motivations, bases and limits of the insertion and use of the design, as well as, consequently, the changes that inscribed in the very concept of museum. Without forgetting the various professionals involved in the aforementioned relations, we highlight the role of the designer within these limits, and in what way these specialists act and serve the museums, investigating what kind of contribution they can add to the studies of the Design Field. Thus, one of the various issues to be discussed and discussed is pertinent to the facilities that its application can cause, as well as the reach and social inclusion that it is capable of promoting.