This thesis examines the relationship between regionality and societal integration at the turn of the 20th century from an historical and pedagogical perspective. The national identity project of the time that made national unity its overarching goal and that imagined the nation as a homogenous entity, also institutionalised regional distinctiveness. How did the agents of the time handle the conflict between the regionally particular and the nationally general? What is analysed here is the publicly constructed and mediated “regionality”, which is to say the production of meanings about a region and the projection onto it of expectations and ideas. A discourse on Jämtland has been demarcated, which is analysed alongside other contemporary discourses, including class and gender. All of these discourses were rooted in the concept of “societal”. The conception showed that the development of the societal whole was primary in relation to other interests. Defined as “societal”, formerly excluded identities could be made participants in the building of the nation. Empirical examination is given to how “Jämtland” and “the Jämtlandic” were defined in the regional press, in the framework of general education, and by the Swedish Tourist Association, regional societies, institutions and so forth. The study shows that at the turn of the 20th century, regionality very much functioned as a means to territorially anchor more general ideas and notions that inheredin the modernisation and democratisation of society. With the objective of attaining a higher degree of national integration, a regional distinctiveness was constructed that was nationally complementary and that served as a metaphorfor subordinated participation in society. From grand, majestic panoramas, historical myths, traditional local handicrafts and provincial flowers a symbolic distinctiveness was created, but with the aim of establishing genuine national unity. Society was to be described and understood from particular and individual viewpoints, so that the individual could develop a sense of the general and so that society’s fundamental values were not undermined by his liberation. Jämtlandic regionality that has been identified in the study can thus be regarded as a supra-ideological institution. What came to be regionalised was something more fundamental than the artefacts of cultural heritage that people and institutions believed themselves to be rescuing from modernisation: it was the nation’s territoriality. The concept of hembygd represented a “spatialisation” of the societally coded concept of citizenship, and helped to tie this concept to the individual’s own lifeworld. More than anything else, regionality indicateda perspective on reality. If it was possible to obtain an overview of a regional context from a local vantage point or an individual locally crafted artefact, it was also possible to conceive of the larger national framework of which this region formed a part. The regional denoted the link between the private and the public, between the individual and his abstract national affiliation.

This thesis is a study of constructions of reality in visual and textual representations in current exhibitions in the Swedish Museum of Natural History in Stockholm with comparisons to the Natural History Museum in Gothenburg and minor excursions to other museums. The study also includes seven giant screen films in Cosmonova: an IMAX theatre which is part of the Swedish Museum of Natural History. The study consists of three parts: I. Historical and theoretical contextualisation: The emergence of museums is understood as an aspect of modernity and nature, and analytical concepts from semiotics, deconstruction and discourse analysis are presented and discussed. This part also includes a discussion of anthropomorphism and andropocentric stereotyping and a study of the emergence of the environmental question in society, science, museums and in the disciplines of sociology and cultural studies. II. Empirical analysis: Starting with questions what stories modern exhibitions in museums of natural history tell and how animals, bodies, humans and the environment are represented in the exhibitions and films I discuss different aspects of the dualism of nature and culture in relation to other dualisms such as animal/human, nature/society and ecology/economy. The dualism nature/culture that is expressed in exclusions of conventional signs for human culture is problematic from an environmental perspective. I pose the question of whether or not the marginalized phenomenon of the cabinet of curiosity that combine both “naturalia” and “artificialia” and displays phenomena classified as abnormal, can provide a key to narratives about co-evolution, environmental issues and variations in morphology and behaviour. III. Discussion: The potential for transcending the dualism of nature and culture, both theoretically-and practically-speaking, and particularly in relation to the environmental question, is discussed, as is the possibility that museums can be(come) reflexive sub-political arenas for dialogues between politics, science and people.

This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.

This thesis contributes to the knowledge of museology, anthropology and Native American studies. It is an analysis of the discourse that surrounded The Spirit Sings: Artistic Traditions of Canada's First Peoples, an exhibition prepared by the Glenbow in Calgary as the 'flagship' of the Olympic Arts Festival in 1988. After the Lubicon Indians of Northern Alberta called for a boycott of The Spirit Sings, in attempt to draw critical attention to their long outstanding lands claim, a large and heated debate ensued involving several disciplines, particularly anthropology and museology. Much of this debate took place in the print media, therefore a large body of material remains to be reviewed and studied. The intent of this thesis is to illustrate that the issue of museological representation of First Nations was one of the most central themes discussed in the discourse, but to argue that the major players dealt with this issue on only the most concrete level and therefore largely neglected to recognize that the issue of First Nation's representation was not just a concern over museum interpretation but more importantly an issue of the contested authenticity of national and cultural claims. / vi, 335 p. ; 29 cm.

檔案原是權力的象徵，從古至今，從東方至西方，只有少數人有權力得以使用檔案。而檔案由封閉走向開放，其重要的轉折點是在1794年，由於法國頒布世界第一部檔案法，規定檔案館應實行開放原則。此後，開放國家檔案館的檔案供民眾使用的觀念，也深深影響檔案館營運的方式。因此目前許多現代化的國家，常把檔案開放程度視為是民主化的重要指標。隨著網路通訊技術的發展，對於檔案開放亦產生極大的衝擊。 本研究採用「多重個案法」與「比較研究法」進行研究，首先瞭解美國、英國與澳洲三國國家檔案館檔案在網路上開放情況。並藉由比較研究法，瞭解三國之間的差異性，並且透過描述、解釋、併排、比較的過程，最後進行分析，將比較之結果做一結論，得出具體的建議。 根據研究發現，提出結論如下：一、檔案開放相關法規方面：（一）三國對於個人隱私權均相當注重，但美國則為政府資訊公開重於個人隱私權保護；（二）美、英兩國檔案相關法規針對網路開放檔案有特別之規範，美、英兩國檔案相關法規針對網路開放檔案有特別之規範，澳洲則為沿用原有檔案法規；二、線上參考服務方面：（一）線上參考服務多無專責部門，但仍有專責人員負責；（二）電子郵件、FAQ等非同步線上參考服務，為三國國家檔案館最普遍使用的形式；（三）三國國家檔案館均針對研究者提供特別線上參考服務；三、線上檢索工具方面為（一）三國國家檔案館提供多元化的線上檢索工具；（二）提供電子檔案及檔案內容影像檔已成為三國國家檔案館趨勢；（三）檢索系統的描述規則符合國際標準，有利於未來國際間檔案描述的資源分享與交流；四、線上檔案展覽方面：（一）線上展覽主題皆與館藏特色、社會文化相互結合；（二）線上展覽呈現方式較為傳統，缺乏創新；（三）線上展覽仍需與檔案館相關活動配合，以達最大的成效。 最後針對前述研究結果提出五項建議：一、明確規範檔案開放範圍，以作為我國檔案在網路上開放之依據；二、觀摩國外國家檔案館經驗，加強國內對線上參考服務的概念與認識，並積極推廣線上參考服務；三、建議國內檔案典藏單位，針對研究者提供特別線上參考服務；四、建議國內檔案典藏單位改善線上檢索系統，提供多元化線上檢索工具；五、針對我國檔案典藏單位之館藏特色及社會文化，積極推動線上展覽。

Made available in DSpace on 2016-05-17T16:51:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-08-17. Added 1 bitstream(s) on 2016-05-17T16:54:59Z : No. of bitstreams: 1 000864540.pdf: 1039983 bytes, checksum: 385664595ca05055e160d04f90391778 (MD5) / Russell Harrison (1994) reconhece a presença do chauvinismo machista na obra de Charles Bukowski e afirma que a redação de seus romances tem de ser vista no contexto da 'segunda onda do feminismo', época na qual Bukowski se consolidou como escritor, e como consequência recebeu influência. Esse momento da liberação feminina é representado por livros tais como Sexual Politics de Kate Millett (1969) e The Female Eunuch de Germaine Greer (1970). Bukowski, conhecido por apresentar a mulher como objeto do desejo masculino, demonstra uma sensibilidade diante da objetificação do corpo feminino no conto 'The Most Beautiful Woman in Town', no qual o autor retrata a protagonista Cass como vulnerável e carente de assistência. A dissertação situa esse conto no contexto dos 64 contos de Erections, Ejaculations, Exhibitions and Tales of Ordinary Madness (1972), para demonstrar a forma excepcional com que o autor mostra a sua sensibilidade em relação à figura feminina no contexto de uma coletânea caracterizada por sua misoginia / Russell Harrison (1994) recognises the male chauvinism of Charles Bukowski's work and argues that his novels must be seen in the context of the 'second wave of the feminism', a time in which Bukowski established himself as a writer, and which certainly influenced him. This point in the struggle for women's liberation is represented by books such as Sexual Politics, by Kate Millett (1969), and The Female Eunuch, by Germaine Greer (1970). Bukowski, known for his presentation of women as the objects of male desire, demonstrates a sensitivity concerning the objectification of the female body in the story 'The Most Beautiful Woman in Town', in which he depicts the protagonist, Cass, as vulnerable and in need of assistance. The dissertation situates this story in the context of the 64 stories of Erections, Ejaculations, Exhibitions and Tales of Ordinary Madness (1972) in order to demonstrate how exceptional its sensitivity with regard to women is in a collection characterised by its misogynism

The study unpacked the meaning and the value of intonjane in traditional Xhosa communities. It also provides a critical analysis and interpretation of the intonjane custom and in particular its impact on the upbringing of a Xhosa traditional girl child. It investigates the value of this practice, especially in relation to where it is still being performed, even in our modern times. I researched closely into all aspects of how the girls were brought up, and with what social values. The data collection has been conducted through interviews with the Philakukuzenzela group when they were in Grahamstown Art Festival in July 2011 who come from a place called Centuli, and other people (abaThembu) who practice and have knowledge of the different aspects of the intonjane process and observation during the actual ceremonies in O. R. Thambo district, and in Gemvale near Port St Johns in the Province of the Eastern Cape. Interviews were conducted in Xhosa and translated into English. This Visual Narrative investigates and contributes to the debate regarding the value of traditional African thought and how it can enrich our contemporary belief system. The objective was to investigate the essence and merit of the knowledge imparted by elderly women to young girls during the initiation period of intonjane within Xhosa traditional communities. This study provides a foundation and springboard for my practical artworks which utilized symbols and metaphors to express my understanding of the important events and stages associated with this traditional ceremony. Clay medium was used as the medium of expression, applying different techniques such as throwing, press mold, slab building, coiling, engraving, sewing and inlaying, with press mold being the main technique utilized. My artworks are of three different types, which are symbolic of the three aspects or stages, of liminality, namely: pre-liminal, liminal and post-liminal. / Art history, Visual arts and Musicology / M.A. (Visual Arts)

Made available in DSpace on 2015-10-19T11:50:17Z (GMT). No. of bitstreams: 1 schwenck2011.pdf: 2958691 bytes, checksum: d852522775a23a85b32e495686870eff (MD5) Previous issue date: 2011-03-28 / This study verify the construction of the informational mediation of the itinerant museum Ciência Móvel: vida e saúde para todos , since the designing of their exhibitions until its completion, through the cultural and informational dynamics that took place there through several informational and communicational interactions among their actors, partners, objects, and public. It identifies various aspects of science communication that permeate its team and remarks on the cultural and social role of Moving Science in science perception of the public. For a better understanding of this scenario it was held exploratory field research applying a combination of methodological techniques derived from the qualitative methodology, by conducting field observations, document analysis and interviews with staff of the itinerant museum. By analyzing the collected data it was possible to identify where the informational exchanges take place, who are the main actors involved in these interactions, the relationships established during the process and the importance of this museum in the dissemination and popularization of science and health. / Este estudo verifica a construção da mediação informacional do museu itinerante Ciência Móvel: vida e saúde para todos , desde a concepção de suas exposições, até a sua realização, através da dinâmica cultural e informacional ocorrida em seu espaço por meio de variadas interações informacionais e comunicacionais entre seus atores, parceiros, objetos e o público. Identifica diferentes vertentes da divulgação científica que permeiam sua equipe e suas considerações sobre a função cultural e social do Ciência Móvel para a percepção pública da ciência. Para maior compreensão deste cenário, realizou-se pesquisa de campo exploratória, na qual foi aplicada uma combinação de técnicas metodológicas oriundas da metodologia qualitativa, tendo sido realizadas observações de campo, análise de documentos e entrevistas com a equipe desse museu itinerante. Com a análise dos dados coletados foi possível identificar em quais espaços ocorrem as trocas informacionais, quem são os principais atores envolvidos nestas interações, as relações que se estabelecem ao longo do processo e a importância deste museu na divulgação e popularização da ciência e da saúde.

Este trabalho estuda as edificações denominadas Pavilhão e Centros de Exposição, com total da área coberta para exposições superior a 20.000m², na cidade de São Paulo. Inicialmente são apresentados os antecedentes das atividades que precederam as atuais Feiras de Negócios e Exposições Industriais e seu rebatimento no espaço desde a antiguidade clássica, passando pelas feiras medievais e pela revolução industrial na Europa até as Exposições Universais, num passado mais recente. A partir desse levantamento é detalhada a operacionalidade dessa tipologia, seus agentes e as relações entre as suas principais atividades, o local onde se encontram e outros equipamentos urbanos com funções complementares. Em seguida, são analisados os exemplos nesta Capital e em outras cidades, procurando extrair os componentes que confi guram um pavilhão ou centro de exposições. Com essa análise chega-se a um programa geral proposto e à representação gráfi ca do arranjo físico dessas edificações (fl uxograma). Por fim, a partir do estudo da dinâmica das feiras e exposições são identifi cadas características que podem influenciar e/ ou determinar a necessidade e confi guração dos espaços. São então apresentadas as principais conclusões sobre o tema central, como contribuições em futuros estudos de exemplares desse tipo de edifi cação, seja para reforma, requalificação ou novas implantações. / This paper studies the types of buildings called Pavilions and Exhibition Centers of a covered area in excess of 20,000 sq. m. (215.28 sq. ft) as exhibition space existing in the city of São Paulo. First, a survey is presented on the background of the developments that preceded the current Trade Fairs and Industrial Shows and their reverberations in space, from Classical Antiquity, through Medieval Fairs and the Industrial Revolution in Europe to the Universal Exhibitions. Based on that framework, the operationality of this typology, its agents and the relations underlying its main activities, their location and other urban facilities with complementary functions are detailed. Next, examples from our state capital and from other cities are reviewed, in an attempt to draw the components that characterize a pavilion or exhibition center. These approaches lead the way to a proposed general program and to the graphic representation of the physical layout of these buildings (fl ow chart). Finally, a study on the dynamics of fairs and exhibitions identifi es the characteristics capable of exerting an infl uence and/or determining the need and confi guration of spaces. The main conclusions on the core theme are then set out as a contribution to future studies on this type of construction, whether for the purpose of construction renovation or retrofi tting or for new implementation.

La réflexion engagée dans la thèse propose une archéologie des représentations collectives se rapportant à l’espace domestique de l’écrivain et à son œuvre au moyen d’une socio-critique des textes où elles prennent corps. À partir de la notion de « maison-musée », la maison-musée de l’écrivain est considérée comme un lieu réel et comme une structure mentale et matérielle où s’inventent, s’organisent, s’exposent et sont conservées des « images d’écrivain » qui, quoique variées, voire hétérogènes, définissent un imaginaire et une imagerie cohérents de la figure de l’écrivain. Dans la thèse, la dimension discursive de la « paratopie » du lieu d’écriture est mise en perspective avec les approches posturales et scénographiques centrées sur la figure de l’écrivain. Pour ce faire, l’étude postule que l’agencement des objets dans les maisons-musées s’appuie sur ces « scéno-mythographies ». Des dispositifs d’exposition divers les transposeraient par la suite dans l’espace muséal. Partant, la thèse montre que les mises en scène de l’écrivain à demeure constituent un levier essentiel des appropriations mémorielles collectives des écrivains et de leurs œuvres parce qu’elles cristallisent des représentations mythiques à succès qui s’actualisent dans l’esprit du temps. Plus largement, elles participent à l’écriture de l’histoire littéraire qui s’institutionnalise au XIXe siècle : elles mettent l’accent sur certains écrivains, sur une mythologie de la création littéraire et sur des œuvres qui ont vu le jour dans de « hauts-lieux littéraires ». Enfin, il s’agit de comprendre les enjeux de poétique et de réception qui lient les maisons des écrivains à leur œuvre littéraire. / The reflection undertaken in the thesis offers an archaeology of the collective representations relating to the writer’s domestic space and work, by means of a socio-criticism of the texts in which they materialise. From the notion of “house-museum”, the writer’s house-museum is considered a real place, as well as a mental and material structure where « images of the writer » are invented, organised and displayed. Albeit varied, even heterogonous, these images define a coherent imagination and imagery of the writer’s figure. In the thesis, the discursive dimension of the writing place′s “paratopia” is put into perspective with scenographic and postural approaches that are centred on the figure of the writer. To that end, the study predicates that the arrangement of objects in house-museums is based on these ‘‘sceno-mythographies,’’ which are then transposed into the museum space thanks to various display devices. Right from the start, the thesis shows that the writer’s stagings perpetually constitute an essential lever of the writers’ collective memorial appropriations and their works because they crystallise successful mythical representations, which are actualized in the spirit of the age. More broadly, they take part in writing the literary history that is institutionalised in the 19th century: they put the emphasis on certain writers, on a mythology of the literary creation, and on works that came to life in “high literary places.” Finally, the thesis tackles the issues of poetics and reception that link the writers’ houses to their literary work.