[pt] Esta pesquisa tem por objetivo analisar as aproximações ou distanciamentos da categoria Museu de Cidade buscando problematizar seu uso no contexto do Museu Histórico da Cidade do Rio de Janeiro – MHCRJ. A intenção foi verificar se a relação com a comunidade do entorno contribui para o processo de musealização, de modo a ampliar o debate sobre museus de cidade, sua interface com a dimensão educativa e o patrimônio cultural. Com base na revisão de literatura, foi possível constatar uma produção incipiente sobre a temática de museus de cidade e educação, o que demonstra a necessidade de pesquisas nesse campo de modo a possibilitar uma aproximação profícua entre essas áreas. Destacam-se algumas questões norteadoras que orientam a pesquisa, como: o museu está na cidade, mas será que a cidade está no museu? Carregar a categoria de Museu de Cidade viabiliza um diálogo efetivo e afetivo com esse território do qual faz parte? O Parque da Cidade é também museu? A reflexão sobre museu de cidade, musealização e patrimônio cultural, pautada na relação com o entorno, teve como alicerce as perspectivas teóricas de Meneses, Varine, Brulon, Desvallés e Mairesse, Gonçalves e Poulot. O debate sobre a dimensão educativa do museu foi pautado nos estudos de Carvalho, Chagas, Cristina Bruno e Valente. Parte-se do pressuposto que, mais do que expor seus objetos, o museu precisa criar canais de comunicação com seus públicos e com a comunidade do entorno, configurando-se, assim, como espaço privilegiado de discussão acerca do desenvolvimento da cidade. Para tanto, foi priorizada uma investigação qualitativa utilizando os seguintes recursos metodológicos: entrevistas semiestruturadas com nove moradores da comunidade Vila Parque da Cidade e Parque da Cidade, um trabalhador do Parque e cinco profissionais do Museu, observação do entorno (Parque e comunidade), de uma atividade educativa realizada pelo Museu, da inauguração de sua reserva técnica e análise de documentos disponível na web sobre o Museu. Os resultados apontam o quanto a comunidade do entorno, principalmente os mais velhos, conhecem a história daquele Museu, da comunidade e do Parque e destacam aspectos que podem contribuir para a aproximação entre eles. O Parque da Cidade apresenta-se como um espaço de pertencimento para a maioria dos moradores entrevistados. Pode-se dizer que além de ser o local de morada e extensão do Museu, o Parque é também Museu. Apesar do Museu Histórico da Cidade do Rio de Janeiro ser classificado por seus profissionais como museu histórico e possuir uma função específica, chega-se à conclusão que ele ainda parece estar em um processo de construção de sua identidade e que a integração com o entorno extramuros encontra-se em desenvolvimento. As experiências das pessoas entrevistadas relacionadas às tantas histórias com o Museu apontam também para a necessidade de um processo de musealização que incorpore os públicos, levando-se em consideração os patrimônios vivos, culturais e naturais daquela localidade. / [en] This research aims to analyze the approximations or distancings to the category City Museum seeking to problematize its use in the context of the Historical Museum of the City of Rio de Janeiro - MHCRJ. The intention was to verify if the relationship with the surrounding community contributes to the musealization process, in order to broaden the debate about city museums, their interface with the educational dimension and cultural heritage. Based on the literature review, it was possible to verify an incipient production on the theme of city museums and education, which demonstrates the need for research in this field in order to enable a fruitful approximation between these areas. There are some guiding questions that guide the research, such as: the museum is in the city, but is the city in the museum? Does carrying the category of City Museum enable an effective and affective dialogue with this territory of which it is a part? Is Parque da Cidade also a museum? The reflection upon the city museum, musealization and cultural heritage, based on the relationship with the surroundings, was based on the theoretical perspectives of Meneses, Varine, Brulon, Desvallés and Mairesse, Gonçalves and Poulot. The debate on the educational dimension of the museum was guided by the studies of Carvalho, Chagas, Cristina Bruno and Valente. It is assumed that, more than exposing its objects, the museum needs to create communication channels with its audiences and with the surrounding community, thus becoming a privileged space for discussion about the development of the city. Therefore, a qualitative investigation was prioritized using the following methodological resources: semi-structured interviews with nine residents of the Vila Parque da Cidade and Parque da Cidade community, a Park worker and five Museum professionals, observation of the surroundings (Park and community), of an educational activity carried out by the Museum, the opening of its technical reserve and analysis of documents available on the web about the Museum. The results show how much the surrounding community, especially the older ones, know the history of that Museum, the community and the Park and highlight aspects that can contribute to bringing them closer. Parque da Cidade presents itself as a space of belonging to most of the interviewed residents. It can be said that in addition to being the place of residence and extension of the Museum, the Park is also a Museum. Although the Historical Museum of the City of Rio de Janeiro is classified by its professionals as a historical museum and has a specific function, it is concluded that it still seems to be in a process of building its identity and that the integration with the extramural surroundings is in development. The experiences of the people who were interviewed, that were related to so many stories about the Museum, also point to the need of a process of musealization that incorporates the public, taking into account the living, cultural and natural heritage of that location.

Depuis la fin des années 1980, les collaborations avec les communautés autochtones semblent s’accroître dans les musées canadiens. Un déplacement apparaît de la prise de parole en contexte de revendication au don de parole en contexte muséal. Après la remise en cause des musées ethnologiques, la prise en charge de la parole autochtone annonce le temps de la reconnaissance. Seulement, le mot reconnaissance est employé dans des contextes variés en muséologie. Ses occurrences indiquent plusieurs sens, dérivés de la volonté de redonner dignité et respect aux peuples autochtones et de produire des expositions qui présentent leur patrimoine d’origine à la lumière de leurs points de vue. Selon une approche communicationnelle, notre travail a porté sur les pratiques des musées qui consistent à donner la parole aux peuples autochtones et à l’exposer. Le travail a été centré sur la combinaison des points de vue autochtones avec ceux des concepteurs-muséographes. L’entreprise de la recherche a visé à cerner les opérations induites et générées par cette situation d’entrecroisements de points de vue, plus ou moins discordants, qui doivent, d’une manière ou d’une autre, s’unir dans un même espace communicationnel. Le système polyphonique de l’exposition est conceptualisé en trois moments de médiation : la prise en compte, la monstration et l’interprétation des points de vue autochtones. Ils correspondent aux intentions des concepteurs-muséographes et des expositions, puis à la manière dont elles sont interprétées par les visiteurs. Nous avons réalisé quatre enquêtes de terrain dans onze musées à travers le Canada : observation participante ; entretiens individuels auprès de professionnels des musées ; analyse de discours ; entretiens de groupes auprès de visiteurs autochtones et allochtones. Nous avons examiné les pratiques collaboratives et croisé ces quatre formes de discours des musées afin de mettre à l’épreuve le potentiel de reconnaissance des expositions qui tiennent compte des points de vue des représentants autochtones. Il résulte que la patrimonialisation est conçue en tant que processus de reconnaissance. De plus, l’intensification de la patrimonialisation des objets autochtones est synchronique de l’expansion coloniale. Néanmoins, l’analyse de la prise de distance du concepteur-muséographe vis-à-vis de son point de vue et de celui des autochtones rend compte des relations complexes entre le don de parole, l’autorité de discours et l’auctorialité. Malgré les divergences entre les intentions explicitées par les professionnels et leurs intentions implicites dans les expositions, les discours des visiteurs autochtones et allochtones traduisent un contrat de reconnaissance entre le musée et les visiteurs. Ainsi, le principe polyphonique et ses formes de reconnaissance sont mis en évidence dans les espaces de production et de réception des expositions produites en collaboration. Notre recherche révèle plusieurs modalités de reconnaissance manifestes dans la combinaison et l’entrecroisement des voix autochtones avec celles des praticiens. Cet essai d’interprétation met au jour des conflits d’ordre patrimonial et socio-historique qui engendrent des mécanismes de régulation par assimilation/accommodation. Il décrit deux logiques fondamentales relatives à l’identité et à la mémoire. De ces adaptations mises en œuvre par les musées ressort un phénomène permanent de reconnaissance amorcé depuis la colonisation des territoires autochtones. La recherche suggère finalement d’envisager le musée comme lieu de reconnaissance non seulement du patrimoine, mais aussi des publics et des peuples donateurs et donataires du patrimoine. / Collaborations with aboriginal communities appear to be increasing in Canadian museums, with the communities shifting from speaking in a context of claiming theirrights to being given a voice in the museum context. In keeping with the questioning about ethnological museums, taking into account the voice of the aboriginal peoplesprefigures since the eighties the time for recognition. But the word recognition is used indiverse museum contexts.Based on a communicational approach, our research considers the links between thepolyphonic and recognition modalities of the exhibition media. We have attempted toidentify and understand the processes induced and generated by exhibitions’ interactionaland intertextual systems. The polyphonic system is conceptualized in three mediation moments in the production and reception spaces of the exhibition: acknowledgment, monstration, and interpretation of aboriginal points of view. They correspond to there cognition intentions of the exhibitions and designers-museographers, then visitors’recognition. We have conducted four field studies in eleven different Canadian museums : participant observation; one-on-one interviews with museum professionals; discourse analysis ; group interviews with native and non-native visitors. We have studied the collaborative practicesand these four types of museum discourses to demonstrate the recognition potential ofexhibitions dedicated to the aboriginals’ perspectives.Our research reveals several recognition modes manifest in the combination andinterlinking of aboriginals’ and practitioners’ voices; it identifies logic in the polysemy ofthe word recognition. This interpretation essay reveals patrimonial and socio-historical conflicts that generate regulation mechanisms through assimilation/accommodation. A permanent recognition phenomenon emerges from the adaptations implemented by themuseums since the beginning of aboriginal patrimonialization during the colonizationperiod. Our research proposes to apprehend the museum as a recognition place of heritage, but also of the general public and the peoples, whether donors or donees of that heritage.

The aim of this thesis is to identify what actions of change museums have taken to adjust to the ebb and flow of societal norms and values. The empirical evidence is based on three case studies of objects in three museums: the Birka warrior from grave Bj-581 in the Swedish History Museum in Stockholm, the G’psgolox totem pole in the Museum of Ethnography in Stockholm, and the Benin bronzes in the Museum of Ethnography in Stockholm and the British Museum in London. Through observations of objects and exhibitions in combination with interviews with museum professionals and researchers, an overall picture is created that shows traces of regulation but also remaining attributes from older times. Through theories of structuration, authorized heritage discourse, norm critique and postcolonial ideas, we highlight the strong connections between social structures, social relations and authorized governing groups that exist in the process of disentangling. With this thesis, we intend to highlight how the phenomenon of change is portrayed and managed in museums. Museums in the west were foremost established during a time when nationalistic and colonial ideals characterized societal norms and the work that took place within museums. As a result of the preservation and presentation of the national identity, museums were often attributed with a character of identity making. Over time, the world has changed and so have the norms within society. Aspects of ethics and morals have become increasingly incorporated into discussions about power and governance. In line with these changes, museums have also had to change to stay relevant in their time. The museums hold to this day some of the old nationalistic and colonial ideals which they were built upon. The old ideals can be identified within the museums’ exhibitions, and because of this, clashes may occur between older and newer norms and values in the process of change, within which transparency becomes an important key element.  This is a two year master's thesis in Museum and Cultural Heritage Studies.