I dagens samhälle har fler och fler verksamheter inom kulturkontexten utforskat nya sätt att presentera sitt innehåll för publiken. Ett sådant är webbaserade virtuella turer där möjlighet skapas för en intresserad allmänhet att besöka unika platser, ta del av kunskaper på ett interaktivt sätt och pröva nya sätt att besöka ett museum eller en historisk plats. För att locka besökare, och vara ett komplement till vanliga museer och platser med kulturarv, behöver dessa turer skapa en virtuell miljö där användaren upplever ett sömlöst flow och känner en stark inlevelse, engagemang och närvaro i den virtuella platsen. Samspelet mellan dessa element anses vara viktiga för individens helhetsupplevelse och användarupplevelse av webbaserade virtuella turer. Därför ligger intresset i den här studien på att undersöka hur en känsla av närvaro, inlevelse och engagemang påverkar användarupplevelsen under sådana turer. Genom analys av dessa element var studiens mål att utveckla riktlinjer för att uppnå en god användarupplevelse och förbättra värdet av webbaserade virtuella turer. För att besvara studiens forskningsfrågor tillämpades kvalitativa och en kvantitativ metod. Datainsamlingen baserades på en specifik webbaserad virtuell tur genom världens största grotta, Son Doong. Studiens kvalitativa metoder i form av användartester och semistrukturerade intervjuer omfattade tio informanter. Den kvantitativa metoden System Usability Scale (SUS) kompletterade det empiriska materialet med information om användbarheten av den testade turen.  Medan resultatet av SUS demonstrerade en hög grad av användbarhet av den studerade turen, visade de samlade resultaten av användartest och intervjuer på vilket sätt känslan av närvaro, inlevelse och engagemang påverkar användarupplevelsen. Studiens resultat indikerar att en god användarupplevelse av webbaserade virtuella turer kan uppnås genom god navigation, spännande berättande, variation vid presentation av innehållet, möjlighet att interagera med den virtuella miljön, individanpassad upplevelse och bred funktionalitet. Dessa insikter från studiens datainsamling har sammanställts i ett antal riktlinjer som ger förslag på vad en webbaserad virtuell tur kan innehålla för att skapa en god användarupplevelse. / Nowadays, more and more organizations within the cultural context have been exploring new ways of presenting their content to the audience. One such way is web-based virtual tours that create opportunities for the interested public to discover unique places, obtain new knowledge in an interactive way or try an entertaining way to visit a museum or a historical place. To attract visitors and be a complement to regular museums and places of heritage, these tours need to create a virtual environment where users experience a seamless flow and feel a strong sense of immersion, engagement, and presence in the virtual place. The synergy between these factors is considered to be an important one for user experience in web-based virtual tours. Therefore, the interest of this study lies in exploring how a sense of presence, immersion, and engagement influence user experience in these tours. By analyzing these elements, the study’s goal was to develop guidelines that would help achieve a good user experience and enhance the value of web-based virtual tours. To answer the research questions, the study applied qualitative and quantitative methods. Data collection was based on a specific web-based virtual tour of the World's largest cave, Son Doong. Qualitative methods of the study, user tests, and semi-structured interviews, included ten individuals. System Usability Scale (SUS), the quantitative method of the study, completed the empirical material with information regarding the usability of the tested virtual tour.  While the result of SUS demonstrated a good level of usability of the studied tour, the collected results from the user tests and interviews revealed in what way and how the sense of presence, immersion, and engagement influence the user experience. The study results indicate that a good user experience in web-based virtual tours could be achieved by good navigation, compelling storytelling, variation in presenting the content, opportunities to interact with the virtual environment, customization of own experience, and broad functionality. These insights from the study results have been summarized in several guidelines that suggest what a web-based virtual tour should include to create a good user experience.

Emotions are sometimes thought of as human universals, biological facts shared by everyone due to the place of emotions as a function of evolution. A competing theory of emotion has been developed in the field of the history of emotions, where emotions instead are thought of as less unstable historically variable categories. The field of history of emotions has contributed to a heightened interest in emotions in general, including in the places of emotions within museums and museum discourse. Emotions are not only thought of as instrumental in the service of a museum’s pedagogical or political goal but are also subjects of exhibitions in their own right. A first principle for the following work has been that museum exhibitions are discursive acts with narrative form. In this masters thesis, I have wanted to examine the ways in which museums exhibit emotions and their histories and to what extent exhibited emotion require certain curatorial considerations to function as meaningful narratives within the context of the history of emotions. Throughout, theoretical approaches are borrowed from the study of literature and from cultural studies to work toward this goal. Two case studies are carried out in which I consider the poetics of exhibition and the role this poetic plays for the interpretation of the two narratives as wholes. An exhibition about the role of the ultras type of football supporters in the uprisings of the Arab Spring was found to centrally place emotions as catalysts for ultras’ political action. The style of narrative was found to be contributing to the sharp division between implicit audience and the culture depicted that ultimately, it was argued, gave this exhibition a place within the discourse of Orientalism. The second case study was of an exhibition about the history of love, and analysis revealed a confusion of two theoretically competing meta-narratives of love within the narrative. A universal and ahistorical metanarrative of emotion was found to work against the foundation of the exhibition as historical narrative. From these two case studies, I draw the conclusion that curators wishing to exhibit emotions must carefully consider the structure of their narratives, both because of the role of emotion in self-understanding and because of the demands on a historical narrative of emotion. This is a two-year master’s thesis in Museum and Cultural Heritage Studies.

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<p>This thesis is largely about museums and their role and development in and for society. With a field/case study of the District Six Museum in Cape Town, we try to encapsulate a modern function for museums within a context of 1) the current worldwide discussion on museums and their future, and 2) the development of a new democratic nation in South Africa, and museums possible role in that process. Through analysis of interviews made with concerned people within and outside the District Six museum weintend to get a picture of the views on this particular museum and its role and function, for its community and society at large, plus for other museums, as a possible role model. We find that this museum might be close to a type of museum that has been asked for by museologists and others in recent times.</p> / <p>Den här D-uppsatsen behandlar museer och deras roll i den samhälleliga utvecklingen. Genom en fältstudie av District Six Museum i Kapstaden har vi försökt fånga och diskutera hur ett museum av idag kan fungera. Detta har skett utifrån två kontexter; dels den pågående och världsomspännande debatten om museer och deras framtid, dels utvecklingen av en ny demokratisk nation i landet Sydafrika och vilken roll museer har i den processen. Genom analys av intervjuer vi har gjort med aktiva inom och utanför District Six Museum försöker vi få en bild av just detta museums roll och funktion; för sina egna medborgare och samhället runt omkring. Vi diskuterar vidare hur District Six fungerar som förebild för andra museer och hur det faktiskt uppfyller många av de kriterier och önskemål som museologer idag sätter upp för hur ett samtida och aktivt museum bör arbeta.</p>

This study examines a project carried out by Stockholms stadsmuseum in the area of Östberga in Stockholm called Stadsmuseet på plats – Östberga. Interviews with museum personnel and analysis of documents related to the project make up the material for this study. The theory used is The Contextual Model of Learning, which in this study is adjusted to apply a museum-centered perspective rather than a visitor-centered one. The aim is to examine the intentions behind this type of outreach work and how it relates to the concept of the socially responsible museum. This concept is an expression of the development of the museum towards a visitor-centered, democratic and inclusive institution. It also includes a political idea, primarily in a British context, of the museum as a vehicle for positive social change. This study shows that Stadsmuseet på plats – Östberga is connected to larger political goals within the municipality regarding a sustainable social development. The museum’s intentions behind the project combines a regard for the local development of Östberga, with the fulfillment of internal institutional goals relating to audience development, development of museum collections, and creating an inclusive cultural heritage that represents every part of Stockholm. This is a two years master’s thesis in Museum and Cultural Heritage Studies.

This study examines how women are represented in exhibitions about the ancient cultures of Greece, Rome and Egypt. The two museums which have been studied are the Museum of Mediterranean and Near Eastern Antiquities in Stockholm and the British Museum in London. Observations of the exhibitions, notes and interviews with museum personnel are the methods used in this study. The theory used is gender theory, focussing on Yvonne Hirdman’s gender system. The purpose of the study is to examine how the museums are working with representing women in ancient cultures, what objects are exhibited that relates to women and how museum teachers include women in tours. The study shows that women are represented in different degrees in the exhibitions and are much less included in texts. The Museum of Mediterranean and Near Eastern Antiquities have the ambition and interest from the personnel to review their exhibits to include a broader perspective where women are better represented.

”Multimedia and museums - A thesis about expectations, problems and new target audiences” is a thesis about what it means for museums to work with multimedia in it´s public activities today. This paper also focuses on how this development is received by museum employees. Amongst other issues questions concerning new target audiences, application areas and economy is discussed. References are made to both the current discussion about new media and more traditional issues concerning museums, like authenticity for example. / Uppsatsen ”Multimedia och museer - en uppsats om förväntningar, problem och nya målgrupper” handlar om vad det innebär för museerna att arbeta med multimedia som ett verktyg för att möta sin publik. Uppsatsen fokuserar även på hur denna utveckling uppfattas av museernas anställda. Bland annat tas frågor kring nya målgrupper, användningsområden och ekonomi upp. Uppsatsen har ett diskursivt upplägg och sätter det empiriska materialet i fokus. Kopplingar görs till både till samtida teorier kring new media och mer traditionella museala frågor, såsom exempelvis autenticitet.

This thesis is largely about museums and their role and development in and for society. With a field/case study of the District Six Museum in Cape Town, we try to encapsulate a modern function for museums within a context of 1) the current worldwide discussion on museums and their future, and 2) the development of a new democratic nation in South Africa, and museums possible role in that process. Through analysis of interviews made with concerned people within and outside the District Six museum weintend to get a picture of the views on this particular museum and its role and function, for its community and society at large, plus for other museums, as a possible role model. We find that this museum might be close to a type of museum that has been asked for by museologists and others in recent times. / Den här D-uppsatsen behandlar museer och deras roll i den samhälleliga utvecklingen. Genom en fältstudie av District Six Museum i Kapstaden har vi försökt fånga och diskutera hur ett museum av idag kan fungera. Detta har skett utifrån två kontexter; dels den pågående och världsomspännande debatten om museer och deras framtid, dels utvecklingen av en ny demokratisk nation i landet Sydafrika och vilken roll museer har i den processen. Genom analys av intervjuer vi har gjort med aktiva inom och utanför District Six Museum försöker vi få en bild av just detta museums roll och funktion; för sina egna medborgare och samhället runt omkring. Vi diskuterar vidare hur District Six fungerar som förebild för andra museer och hur det faktiskt uppfyller många av de kriterier och önskemål som museologer idag sätter upp för hur ett samtida och aktivt museum bör arbeta.

Against a background of feminist art theories arguing that the hierarchies in art as based on masculine norms, the present thesis examines the four foundations associated with the Swedish state museum of modern art Moderna Museet. The object descriptions are gone through with open coding, to see wether there are formulations in these that affect the possibility to utilize the foundations yield for purchasing textile art. To ground the conclusions, the textile artworks in the collection are reviewed. The findings show that there are no terms in the object descriptions that would explain the low representation of textile art in the collection, since no terms regarding the artworks material nor the artists gender are set. It could therefore rather be a subjective choice by the decision-makers at the museum. Textile art’s position as a traditionally feminine craft renders it not self-evident within the masculine norms of art and modern art museums, and the causes of the mis-representation as well as future prospects are discussed.

The aim of this study is to examine the temporary museum exhibit World of the Vikings (Welt der Wikinger), created by Sweden’s Statens Historia Museum (SHM), through the lenses of  gender and pedagogical analysis. The exhibit which was planned to be showcased in the German city of Kiel in time for the sailing Olympics in 1972 and had several goals in mind. The primary goals were to showcase models of Viking ships and achievements of their ship art (to coincide with the sailing Olympics), provide an overview of the Viking Age and showcasing all its different aspects as opposed to just the infamous warrior. Using a gender theory and the overarching analyst method ‘The Feminist Museum Hack’, primarily utilizing a discourse analysis and a visual method (as well as comparative reading, a quantitative method and content analysis, depending on which objects were analysed), this study examines archival material of the exhibit in order to unveil both gender and pedagogical aspects. The material used, consisting of protocols, memos, exhibition texts, booth overviews (consisting of photographs), catalogues and letter correspondents, provide an extensive look into the exhibit, its purposes as well as the overall structure. The main findings of this study are that the exhibit had a clear pedagogical goal in mind, as its content was divided into different parts and chapters to detail various parts of the Viking Age, including their everyday life. Several artifacts collected from various museums were showcased, and the exhibition texts were designed to both educate its visitors and inspire to seek further knowledge. Nuancing gender roles was not part of its purpose, which is confirmed by a gender analysis of the exhibit. A significant portion of the Nordic people mentioned were men while only a few women were mentioned, but  most of the featured men and women were also from a higher hierarchical standing. In terms of expression of gender and gender roles, men were the primary focus in describing and showcasing everyday Nordic life, whereas the women remained passive and secondary. Through the exhibit material, it is clear the roles and chores performed by men were deemed of a higher importance.