Orientador: Cristiane Pereira Dias / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-20T11:28:10Z (GMT). No. of bitstreams: 1 Alves_MarianaGarciadeCastro_M.pdf: 14657111 bytes, checksum: a70bf97658b216037d83f0fb5f5f013b (MD5) Previous issue date: 2012 / Resumo: O trabalho a seguir trata da exposição HILDA HILST - RESPIROS, realizada em 2010, na Universidade Estadual de Campinas. A mostra foi composta de desenhos da escritora em diálogo com trechos de sua literatura. Teve o objetivo de produzir uma leitura poética da obra. Aqui apresentamos essa experiência de divulgação e refletimos sobre a produção literária de Hilda Hilst em relação à sua produção iconográfica. A poeta desenhava quando o exercício da escrita se lhe tornava pesado, e assim, traçava no papel suas atribulações para "dar uma respirada". Como um convite à leitura, esta dissertação toca nos sentidos em torno de Hilda Hilst nas relações entre obra, autor e público. Apesar do reconhecimento de crítica, atingindo excelência nos três gêneros, sua obra ainda é pouco conhecida, o que poderia ser atribuído a muitos fatores, entre eles a reiteração do mito da artista excêntrica. Este trabalho traça uma geografia hilstiana e, no campo da divulgação, aposta na materialidade de seus desenhos como espaço de produção de sentidos outros em Hilda Hilst / Abstract: This essay deals with the exhibition HILDA HILST - RESPIROS, presented in 2010 at Universidade Estadual de Campinas, in Brazil. The exposure consisted of drawings of the writer in dialogue with parts of her literature. The purpose of the exhibition was to make a poetic reading of her work. Here we present the experience of the disclosure and we think about the literary production of Hilda Hilst in relation to her iconographic production. The poet used to draw when the writing exercise was hard, so she used to draw to "take a breath", "dar um respiro", in Portuguese. As an invitation to read, this work brings thoughts about the senses between work, author and public. She achieved excellence in all the three genres but, in spite of the critical recognition, her work remains unknown. This could be attributed to many factors, including the reiteration of the myth of the eccentric artist. In the field of dissemination, this paper describes a "hilstian geography" and bets on the materiality of her drawings as a place of production of other senses in Hilda Hilst / Mestrado / Divulgação Científica e Cultural / Mestre em Divulgação Científica e Cultural

In 2015 the UN completed a list of environmental and social goals, one of these goals is the “life in the water” goal, or goal 14. It focuses on the factors endangering the diversity and the ecological balance in the water. However, the goals are formulated with a focus on changes to be done by countries or bigger organisations, not by individuals. This project focused on creating a design for a technical solution that teaches and motivates youths how to help take care of the planet. To do this a design process consisting of a pre-study, concept phase and a workshop were done. The pre-study consisted of interviews, a questionnaire and a pre-study of similar digital games. The interviews focused on how youths and what values and knowledge youths are taught today. These interviews informed a questionnaire that focused on how and what the students were taught about taking care of the oceans. The last part of the pre-study was a review of games with focus on the environment, which was later used to inspire the design process. The concept phase consisted of three iteration phases of concepts and the last phase created the concept tested in the following workshop. Each iteration ended with a discussion of concepts were one or two concepts chosen to focus on. The final concept was a type of exhibition of two digital minigames or simulations and one physical simulation. The three prototypes were linked, in a wizard of Oz type of style, where two of the prototypes, the physical and one of the digital prototype, influenced the environment in the last digital prototype. The collective prototype seemed to inspire engagement and interest from the participants and was mainly received as a good idea. The workshop was held with youths between 12-16 years old and resulted in feedback and a proposition to a redesign.

Cette thèse se veut une réflexion sur l’articulation entre les théories postcoloniales et les pratiques curatoriales de l’art contemporain ; elle cherche en effet à souligner les perméabilités et la relation dialogique qui se sont instaurées entre celles-Ci. Il ne s’agit pas d’expliquer les théories postcoloniales appliquées aux pratiques curatoriales et d’en donner une sorte de mode d’emploi, mais plutôt de les visualiser. Par visualiser nous n’entendons pas illustrer, ou fournir une translittération de la théorie, mais bien donner à voir les différents développements et incarnations de celle-Ci. Les contextes britannique et américain des années 1980 et du début des années 1990 font l’objet de la première partie de la thèse dans la mesure où tous deux sont à la fois les lieux d’émergence des théories postcoloniales et des sociétés clés de l’histoire coloniale. La deuxième partie s’attache à la seconde moitié des années 1990 et au début des années 2000, un moment où les théories postcoloniales deviennent des outils indissociables de l’analyse de la globalisation. Enfin, la troisième partie propose d’envisager un monde post-Occidental au XXIe siècle, post-Occidental dans le sens où l’éclatement de la notion de centre/périphérie nécessite des déplacements et des réajustements épistémologiques dont les expositions d’art contemporain sont d’actifs vecteurs, particulièrement celles cherchant à articuler un propos postcolonial / This thesis is a reflection on the relationship between postcolonial theory and curatorial practices in contemporary art, with an emphasis on the permeabilities and dialogic relationship that has developed between them. It does not seek to explain postcolonial theory as applied to curatorial practices or to provide a so-Called user manual, but rather to visualize them. By “visualize” we do not mean to illustrate or present a transliteration of the theory, butinstead to note various developments and embodiments thereof. The United Kingdom and America during the 1980s and early 1990s are the subject of the first part of the thesis to the extent that they are both places of emergence of postcolonial theory and also key societies in the context of colonial history. The second part focuses on the second half of the 1990s and early 2000s, a time when postcolonial theory as a tool become inseparable from the analysis of globalization. Finally, the third part proposes to consider a post-Western world in the 21stcentury, post-Western in the sense that the dissolution of the concept of center/periphery requires certain shifts and epistemological adjustments for which contemporary art exhibitions are active vectors, particularly those seeking to articulate a postcolonial discourse

Doctor of Education / Department of Educational Leadership / Gerald D. Bailey / The role and function of museums in education has been debated along several lines of inquiry. For the majority of museum institutions, the most vital, consistent audience they have comes from the public and private schools in their communities. This is critical for museums trying to maintain relevancy in the national education climate that has increased emphasis on curriculum and testing standards. Founded in 1990, the Negro Leagues Baseball Museum (NLBM) in Kansas City, Missouri has preserved and taught African American baseball history from the late 1800s through the 1960s. Although the museum had received positive commentary from visitors, and well received attention from the international press, it had not undergone any major changes to its design since it opened its permanent facility in 1997. Of chief concern to the museum was its ability to attract school age learners with their teachers to the institution. The museum had a number of layers by which it presented historical information and each layer needed some level of evaluation. There were a number of informative examples of museum evaluation and assessment available for review, but no tool or model existed specifically designed to assist museums in evaluating exhibition content for educational value. This study reports on methods by which the Negro Leagues Baseball Museum (NLBM) could improve and enhance exhibitions. It explored the current trends and scholarship involving museums and education, museum exhibition evaluation, and Negro Leagues historical scholarship. A multi-step research processed evolved for use in the study, featuring detailed literature reviews and interviews from educators, historians, museum professionals, and a grant awarding foundation expert. This study targets museum professionals responsible for interpretation and creation of exhibitions, including curatorial staff and museum educators. The study also informs other museum leaders regarding the process by which high quality educational material is created for the museum environment. A set of important themes and evaluation questions were formed as a result of the interviews and literature review. The study offered critical thinking questions for the evaluation process and suggests recommendations for implementation. The study also implies action plan strategies for implementation of an evaluation process.

My exhibition draws on Andreas Huyssen's notion of memory sculpture to articulate my own sense of loss and trauma, due to the divorce of my parents. Within my work I explore the effects that divorce had on me and how it has disturbed my normative understanding of home and family. I have created scenarios alluding to the family home that I have manipulated in order to convey a sense of nostalgia and loss. By growing salt crystals over found objects and/or cladding them in salt, I attempt to suggest the dual motifs of preservation (a nostalgic clinging to the past) and destruction (due to the salt’s corrosive properties). In this way, the salt-crusted objects serve as a metaphor for a memory that has become stagnant, and is both destructive and regressive. The objects encapsulate the mind’s coping methods to loss. In my mini thesis, I discuss characteristics of memory sculpture as a response to trauma, drawing on Sigmund Freud's differentiation between mourning and melancholia. I also unpack how objects and traces (such as photographs) may act as nostalgic triggers, inducing a state of melancholic attachment to an idealised past. I address these concerns in relation to selected works by Doris Salcedo and Bridget Baker, and also situate them in relation to my own art practice.

Cette thèse a pour but d'étudier les diverses représentations du Moyen Âge au Québec à travers un corpus d'expositions parcourant le XXe siècle et le début des années 2000. Nous nous intéressons au rôle joué par l'espace muséal québécois dans la diffusion de discours sur cette période européenne. Chaque exposition est replacée dans son contexte de création afin de mettre en évidence les raisons d'ordres religieux, culturels, politiques et linguistiques qui incitent les musées à privilégier telle ou telle représentation du Moyen Âge. / This thesis aims to study the various representations of the Middle Ages in Quebec through a corpus of temporary exhibitions held during the twentieth century and the early 2000s. We question the role played by the Quebec museums in the diffusion of discourses about this European period. In order to highlight the religious, cultural, political or linguistic reasons for museums to focus on a specific representation of the Middle Ages, each exhibition is replaced within its original context of creation.

This thesis explores changing perceptions, theory, structure and policy within art exhibit and collection catalogues of First Peoples' objects from the Pacific Northwest Coast. This work looks at emerging viewpoints on material culture and its display over forty years as they present themselves in catalogue entries, textual content and labeling of Native groups and individuals. Early concepts based on salvage anthropology such as Native cultural demise and the degeneration of remaining people weakened as scholarship changed from a predominantly anthropological understanding of the objects to an aesthetic understanding based in art history. Political actions by Native groups have demanded policy changes within Canadian museum structure that includes the Native voice in curatorial decisions and textual discussions on both old and new objects. These very policy changes bring with them increased responsibility for the museum as well as new challenges of representation of the objects and their makers. The theme explored in this thesis is the changing role and responsibility of academia in the representation of the Other. / Arts, Faculty of / Anthropology, Department of / Graduate

The aim of my diploma thesis is the exploration of the fine arts presentation options and methods with a focus on contemporary fine arts in context of the museums of art. The main terms concerning the topic are defined in my work prior to the main research of the museums of art and the presentation of fine arts. In the beginning of my work the reader can familiarize himself with the historical development of art museums from its genesis until the present form of this institution. Following the research part I am explaining the main aspects relevant to the presentation of fine arts, such as the spatial character of art museums and the evolution of its design. One part of my work is focused on a role of curator, who is a very important figure in the presentation of fine arts. The main basis of art museum are its art collections, which are transformed into long-term exhibitions. On the other hand, the museum should also manage the production of temporary exhibitions which plays an essential role in the presentation of fine arts in the last few decades. The methods and technique of installations are no less important for the presentation. All these aspects are described in my diploma thesis and supported by concrete examples from various museums. In the last part of my work, the theoretical thesis are applied on a specific example of an institution with the largest art collection in our country - Veletržní palác.

Museums today provide learning-rich experiences and quality informational resources through both physical and virtual environments. This study examined a Holocaust Museum traveling exhibition, Life in Shadows: Hidden Children and the Holocaust that was on display at the Art Center of Battle Creek, Michigan in fall 2005. The purpose of this mixed methods study was to assess the informational value of a Holocaust Museum exhibition in its onsite vs. online format by converging quantitative and qualitative data. Participants in the study included six eighth grade language arts classes who viewed various combinations or scenarios of the onsite and online Life in Shadows. Using student responses to questions in an online exhibition survey, an analysis of variance was performed to determine which scenario visit promotes the greatest content learning. Using student responses to additional questions on the same survey, data were analyzed qualitatively to discover the impact on students of each scenario visit. By means of an emotional empathy test, data were analyzed to determine differences among student response according to scenario visit. A principal finding of the study (supporting Falk and Dierking's contextual model of learning) was that the use of the online exhibition provided a source of prior orientation and functioned as an advanced organizer for students who subsequently viewed the onsite exhibition. Students who viewed the online exhibition received higher topic assessment scores. Students in each scenario visit gave positive exhibition feedback and evidence of emotional empathy. Further longitudinal studies in museum informatics and Holocaust education involving a more diverse population are needed. Of particular importance would be research focusing on using museum exhibitions and Web-based technology in a compelling manner so that students can continue to hear the words of survivors who themselves bear witness and give voice to silenced victims. When perpetuity of access to informational resources is assured, future generations will continue to be connected to the primary documents of history and cultural heritage.

No description available.