The thesis is focused on development of exhibition activity in Telč with emphasis on the present situation. It keeps an eye on the influence of exhibitions on tourism in the town and suggests measures that could lead to great interest in Telč's exhibitions.

Project of revitalization of Technical museum Brno deals with extension of its complex. Museum has not enough capacity to shelter and expose all its large vehicles. The extension of transport museum is designed as an urban complex based on axes. The large architectural scale presents monumental objects as small as collection of toys. Typology is minimalistic and variable so it could react on various demands of exhibitions designers and public. Analytical part examines researches about museum exhibition's evolution and contemporary trends.

This thesis is a study of how communication takes place in museum exhibitions. The curatorial teams send themessages and the visitors are the receivers. The author uses the British Museum’s free admission special exhibition, Sir Stamford Raffles: collecting in Southeast Asia 1811-1824, as the case study. The study is done through visitor surveys and interviews with British Museum staff and its visitors. The author has also studied museological literatureand theories to strengthen and have a closer understanding of the topics and themes brought up in the study. The study and discussion on politics and identities in cultural heritage have been addressed in previous studies and so has researches on visitors’ behaviours when visiting museums and/or galleries. With the review on previous studies and the survey and interview research model, this study examines the communication flow in museum exhibitions. In interviews with the curator and the head of interpretation of the exhibition, challenges and thoughts about the process of designing the exhibition are presented. With the comparison with the results from the visitor survey, the author can then compares the results from both parties and echo with the research question of the thesis, on how communication takes place in museum exhibitions; between senders and receivers. This research is not meant to be a decider that makes a statement that all exhibitions fit this framework, but rather be considered as a model that future designers can take into consideration when planning for an exhibition. This is a two-year master’s thesis in cultural heritage and sustainability.

No description available.

A Educação para a Conservação é um campo de pesquisa que se dedica ao estudo das reflexões éticas e das atitudes humanas direcionadas para com o respeito que se deve ter com o ambiente, principalmente pelo estabelecimento de ações conservacionistas pautadas em interações educativas. Os Zoos, de modo geral, estão inseridos nessa perspectiva, uma vez que se apresentam como instituições de cunho educativo voltadas para a conservação da biodiversidade. No entanto, o discurso expositivo apresentado por esses aparatos culturais no Brasil, muitas vezes, não contempla tais elementos em suas exposições. Por este motivo, buscou-se a análise de exposições zoológicas também no exterior, que contemplassem discursos sobre a conservação da biodiversidade em suas exposições, tendo sido escolhida a exposição do Zoo de Barcelona, Espanha, para a realização desta investigação. A pesquisa teve por objetivos compreender como a conservação da biodiversidade é abordada na exposição deste zoológico catalão, com base na formulação de saberes de referência constituídos a partir de diferentes áreas: os Movimentos Ambientalistas, a Filosofia da Conservação e as Éticas Ambientais. Igualmente, buscou-se compreender como o discurso expositivo sobre conservação encontra-se apresentado nos aparatos expográficos distribuídos ao longo da exposição, bem como em livros e documentos. Compreendendo a investigação como um Estudo de Caso, foram acessados documentos institucionais de acesso público encontrados no site da instituição e textos presentes nos painéis expositivos. As análises foram realizadas com base no referencial teórico da Transposição Didática/Museográfica, que permite o estudo da exposição por ao menos três lógicas: a lógica do discurso; a lógica do espaço; e a lógica do gesto. Além disso, o mesmo referencial prevê o estabelecimento de um saber de referência ou saber sábio pautado no conhecimento epistemológico sobre a conservação da biodiversidade e, nesta pesquisa, no discurso de pesquisadores da área, que foram entrevistados sobre este assunto. Este saber de referência ou saber sábio possibilitou a criação de um conjunto de categorias de análise que pautou a análise do discurso expositivo apresentado pelo Zoo de Barcelona. As categorias criadas foram classificadas em duas dimensões: a dos Valores e a das Ações. Duas categorias, a Antropocêntrica e a Não antropocêntrica constituíram a Dimensão dos Valores e quatro categorias, a Desenvolvimentista, a Sustentabilista, a Sócio-humanística e a Técnico-científica constituíram a Dimensão das Ações. Os resultados apontaram que o discurso expositivo é composto predominantemente por informações Técnico-científicas e Sustentabilistas, ambas as categorias contextualizadas por uma visão não antropocêntrica de valorização da natureza. A forma como o discurso expositivo encontra-se apresentado na parte textual da exposição corrobora a linha conceitual de assuntos abordados nos grandes eventos globais promovidos pela ONU ao longo dos últimos 40 anos, sobre a conservação do meio ambiente. Categorias como a Sócio-humanística, a Antropocêntrica e a Dimensão dos Valores foram pouco abordadas. A categoria Desenvolvimentista não foi encontrada na exposição. Pelas evidências levantadas durante a análise dos dados pode-se concluir que o Zoo de Barcelona apresenta um discurso expositivo conservacionista e que há elementos suficientes na exposição para se apontar o desenvolvimento de uma Educação para a Conservação. / Education for Conservation is a research field dedicated to the study of ethical reflections and human attitudes directed towards the respect which must have it for the environment, especially the establishment of conservation actions based on educational interactions. Zoos, in general, are entered in this perspective, as it is presented as an educational institutions type directed to the conservation of biodiversity. Though, the expositive speech presented by this cultural mechanism in Brazil often does not include this kind of elements in its exhibitions. Therefore, it sought the zoo expositions analysis also abroad, that addressed discourses on biodiversity conservation in their expositions, which was chosen the Zoo of Barcelona\' exposition, Spain, to perform this research. The research aimed to understand how biodiversity conservation is addressed in this exposition Catalan zoo, based on the formulation made up from different areas of knowledge reference: the Environmental Movement, the Conservation Philosophy and Environmental Ethics. Also, it sought to understand how the expositive speech on conservation is presented in expographic devices distributed throughout the exhibition, as well as books and documents. Understanding the investigation as a Study\'s Case, it was accessed institutional documents of publicly accessible found on other website and present texts in the exhibition panels. The analysis were performed based on the theoretic framework of Didactic Transposition/ Museographic, allowing the expositive study for at least three logics: the logic of speech; the logic of the space; and the management logic. Moreover, the same reference provides for the establishment of a knowledge reference or wise knowledge, guided the epistemological knowledge about the conservation of biodiversity and, in this study, the area\'s researchers, who were interviewed on this subject. This reference knowledge or wise knowledge allowed creating a set of categories of analysis that guided the analysis of expositive speech presented by the Zoo of Barcelona. The created categories were classified in two dimensions: Values and Actions. Two categories, Anthropocentric and non-anthropocentric composed the Values Dimension and four categories, Developmental, the Sustainable, the Socio-humanistic and technical-scientific formed the Actions Dimension. The results showed that the expositive speech consists mainly of Technical- scientific and Sustainable information, both contextualized categories by a non-anthropocentric vision of nature appreciation. The way the expositive discourse is presented in the textual part of the exhibition confirms the conceptual range of issues addressed in major global events organized by the ONU over the past 40 years on the conservation of the environment. Categories such as socio-humanistic, the Anthropocentric and Dimension Values were rarely addressed. The Developmental category was not found in the exposition. The evidence gathered during the data analysis can be concluded that the Zoo of Barcelona presents a conservation exhibition speech and that there are sufficient elements in the exhibition to point out the development of an Education for Conservation.

A Educação para a Conservação é um campo de pesquisa que se dedica ao estudo das reflexões éticas e das atitudes humanas direcionadas para com o respeito que se deve ter com o ambiente, principalmente pelo estabelecimento de ações conservacionistas pautadas em interações educativas. Os Zoos, de modo geral, estão inseridos nessa perspectiva, uma vez que se apresentam como instituições de cunho educativo voltadas para a conservação da biodiversidade. No entanto, o discurso expositivo apresentado por esses aparatos culturais no Brasil, muitas vezes, não contempla tais elementos em suas exposições. Por este motivo, buscou-se a análise de exposições zoológicas também no exterior, que contemplassem discursos sobre a conservação da biodiversidade em suas exposições, tendo sido escolhida a exposição do Zoo de Barcelona, Espanha, para a realização desta investigação. A pesquisa teve por objetivos compreender como a conservação da biodiversidade é abordada na exposição deste zoológico catalão, com base na formulação de saberes de referência constituídos a partir de diferentes áreas: os Movimentos Ambientalistas, a Filosofia da Conservação e as Éticas Ambientais. Igualmente, buscou-se compreender como o discurso expositivo sobre conservação encontra-se apresentado nos aparatos expográficos distribuídos ao longo da exposição, bem como em livros e documentos. Compreendendo a investigação como um Estudo de Caso, foram acessados documentos institucionais de acesso público encontrados no site da instituição e textos presentes nos painéis expositivos. As análises foram realizadas com base no referencial teórico da Transposição Didática/Museográfica, que permite o estudo da exposição por ao menos três lógicas: a lógica do discurso; a lógica do espaço; e a lógica do gesto. Além disso, o mesmo referencial prevê o estabelecimento de um saber de referência ou saber sábio pautado no conhecimento epistemológico sobre a conservação da biodiversidade e, nesta pesquisa, no discurso de pesquisadores da área, que foram entrevistados sobre este assunto. Este saber de referência ou saber sábio possibilitou a criação de um conjunto de categorias de análise que pautou a análise do discurso expositivo apresentado pelo Zoo de Barcelona. As categorias criadas foram classificadas em duas dimensões: a dos Valores e a das Ações. Duas categorias, a Antropocêntrica e a Não antropocêntrica constituíram a Dimensão dos Valores e quatro categorias, a Desenvolvimentista, a Sustentabilista, a Sócio-humanística e a Técnico-científica constituíram a Dimensão das Ações. Os resultados apontaram que o discurso expositivo é composto predominantemente por informações Técnico-científicas e Sustentabilistas, ambas as categorias contextualizadas por uma visão não antropocêntrica de valorização da natureza. A forma como o discurso expositivo encontra-se apresentado na parte textual da exposição corrobora a linha conceitual de assuntos abordados nos grandes eventos globais promovidos pela ONU ao longo dos últimos 40 anos, sobre a conservação do meio ambiente. Categorias como a Sócio-humanística, a Antropocêntrica e a Dimensão dos Valores foram pouco abordadas. A categoria Desenvolvimentista não foi encontrada na exposição. Pelas evidências levantadas durante a análise dos dados pode-se concluir que o Zoo de Barcelona apresenta um discurso expositivo conservacionista e que há elementos suficientes na exposição para se apontar o desenvolvimento de uma Educação para a Conservação. / Education for Conservation is a research field dedicated to the study of ethical reflections and human attitudes directed towards the respect which must have it for the environment, especially the establishment of conservation actions based on educational interactions. Zoos, in general, are entered in this perspective, as it is presented as an educational institutions type directed to the conservation of biodiversity. Though, the expositive speech presented by this cultural mechanism in Brazil often does not include this kind of elements in its exhibitions. Therefore, it sought the zoo expositions analysis also abroad, that addressed discourses on biodiversity conservation in their expositions, which was chosen the Zoo of Barcelona\' exposition, Spain, to perform this research. The research aimed to understand how biodiversity conservation is addressed in this exposition Catalan zoo, based on the formulation made up from different areas of knowledge reference: the Environmental Movement, the Conservation Philosophy and Environmental Ethics. Also, it sought to understand how the expositive speech on conservation is presented in expographic devices distributed throughout the exhibition, as well as books and documents. Understanding the investigation as a Study\'s Case, it was accessed institutional documents of publicly accessible found on other website and present texts in the exhibition panels. The analysis were performed based on the theoretic framework of Didactic Transposition/ Museographic, allowing the expositive study for at least three logics: the logic of speech; the logic of the space; and the management logic. Moreover, the same reference provides for the establishment of a knowledge reference or wise knowledge, guided the epistemological knowledge about the conservation of biodiversity and, in this study, the area\'s researchers, who were interviewed on this subject. This reference knowledge or wise knowledge allowed creating a set of categories of analysis that guided the analysis of expositive speech presented by the Zoo of Barcelona. The created categories were classified in two dimensions: Values and Actions. Two categories, Anthropocentric and non-anthropocentric composed the Values Dimension and four categories, Developmental, the Sustainable, the Socio-humanistic and technical-scientific formed the Actions Dimension. The results showed that the expositive speech consists mainly of Technical- scientific and Sustainable information, both contextualized categories by a non-anthropocentric vision of nature appreciation. The way the expositive discourse is presented in the textual part of the exhibition confirms the conceptual range of issues addressed in major global events organized by the ONU over the past 40 years on the conservation of the environment. Categories such as socio-humanistic, the Anthropocentric and Dimension Values were rarely addressed. The Developmental category was not found in the exposition. The evidence gathered during the data analysis can be concluded that the Zoo of Barcelona presents a conservation exhibition speech and that there are sufficient elements in the exhibition to point out the development of an Education for Conservation.

This thesis bridges narrative theory and the practice of developing narrative exhibitions in museums. It aims to show how an understanding of narrative theory provides a dynamic context for evaluating ongoing exhibition practices and adapting them to changing attitudes and aspirations. For practitioners within the museum sector it introduces a rich body of previously under-utilised scholarship along with a method of interfacing it with museum practice. The idea of deriving ideas for museums from other sectors is not new. Museums increasingly embraced narrative in the 1980s after seeing its value in attracting audiences to film, theatre and theme-parks. Then it was assumed that what was relevant in one sector would be equally relevant in another. However, the interim upsurge of Media Studies suggests that rigorous examination of how each medium operates is necessary in order to identify similar constraints and affordances before scholarship from one area of practice can be appropriately applied in another sector. In opening a path for museum practitioners to gain insight from narrative practitioners in other sectors, the thesis intends also to open the way for knowledge to flow from the discipline of museum studies out into other areas of narrative practice, where cross-disciplinary approaches have already gained ground. At the outset, a context is established through a review of narrative literature. Two different approaches are used. Firstly a broad review of different ways to approach narrative is carried out and a typology of narrative is developed. Secondly commonalities are identified between narrative in exhibitions and narrative practice in other media. Exhibition practices are then described in detail, focusing on experience at the Museum of New Zealand Te Papa Tongarewa, where research was enriched by in-depth interviews with exhibition development staff. Te Papa’s development of narrative exhibitions is traced, and two case studies demonstrate how their model is put into practice to achieve narrative delivery within the museum galleries. For museum professionals and narrative practitioners in other fields, this thesis provides an opportunity to examine processes of narrative delivery against a backdrop of theory. It makes a useful link between the museum sector and other areas of narrative practice.

Over eighty polar-themed exhibitions were held in Britain between 1819 and the 1930s, a time of intense exploration of both the Arctic and Antarctic. These varied from panoramas and human exhibits to displays of ‘relics', equipment, photographs and artwork, waxworks and displays shown as part of a Great Exhibition. This period also saw the creation of the first dedicated polar museums. These displays were visited by thousands of people throughout the country, helping to mediate the subject of exploration for a public audience. Despite this, the role exhibitions played in forming popular views of the polar regions has not been fully assessed. This thesis addresses this gap. It is the first to consider all the polar exhibitions held during this period as a collective body, making it possible to study how they developed over time and in response to changing circumstances. The thesis uses a variety of archival sources to both reconstruct the displays and place them in their historical and museological contexts. The study shows that exhibitions evolved in response to changes both in the museum sector and in exploration culture. It demonstrates that, while they were originally identified with the shows of the entertainment industry, polar exhibitions began to take on more of the characteristics of museum displays. At the same time their dominant themes changed; the natural world was relegated in favour of ideas relating to the human experience of the regions such as heroism, adventure and everyday life in an exotic environment. While other media may have been more effective in disseminating ideas about exploration, visitors could find the experience of visiting an exhibition more compelling. This thesis contributes to our understanding of this distinct role that exhibitions played in presenting the polar regions to the British public.

The current paper aims to focus a museum exhibition developed from the investigation about the history of Júlio de Castilhos Museum from 1960 to 1980. The museum speeches and the performances that determined the museum imagination about its history and also about its symbols were assessed in the research. The history of Júlio de Castilhos Museum from 1960 until 1980, which used to be unknown until these days, has become object of evaluation by the museum historical field and by the subjects who manage the institution. These members have been politically linked to the museum and influenced by a historical and political context. It has made this museum a historical one. By analyzing and exhibiting the museum collections at that time, it was perceived a permanent game between the memory will and the intention of reflecting its history. What happened at Júlio de Castilhos Museum from 1960 until 1980 can be seen under the view of the imprecision of a museum, estate and cultural policy from ideological federal and state instances. This is apparent when there is a discussion about the frequent line changes of the activities developed by the museum as its managers changed. It was also noticed when there were losses or imminent losses of entire collections of weapons or other items due to negligence or default. This institution has been closed many times because of infra-structure problems like lack of financial resources and investments occluded by media and populist events. This is the history shown in the exhibition. / O presente estudo tem como foco central uma exposição museológica desenvolvida a partir da investigação sobre a historicidade do Museu Julio de Castilhos no tempo histórico social de 1960-1980. Conferi na pesquisa os discursos museológicos produzidos, as práticas, as representações constituídas naquele período e que determinaram uma imaginação museal (CHAGAS, 2009) a respeito da Instituição, sobre a história construída nela, e sobre seus semióforos. A historicidade do Museu Julio de Castilhos naqueles anos de 1960-1980, até então desconhecida, procurou averiguar, revelar e tornar acessível ao campo museológico e historiográfico que, os sujeitos sociais que administraram a Instituição, estiveram politicamente enraizados, engajados e influenciados de um contexto histórico e político, e isso influenciou o balizamento do Museu Julio de Castilhos como museu histórico. Analisadas as coleções musealizadas e expostas na época, percebi que há um permanente jogo entre a vontade de memória e a intenção de refletir sobre a História. O que aconteceu no Museu Julio de Castilhos nos anos 1960-1980, pode ser visto pela perspectiva da imprecisão de uma política cultural, patrimonial e museológica das instancias federal e estadual e que ao mesmo tempo estiveram ideologizadas. Isso fica claro quando se pondera a respeito das frequentes alterações de linha nas atividades desenvolvidas pelo Museu, logo que mudavam as diretorias. Também pode ser vista pela ameaça, e a efetiva perda das coleções de armas. Descuido, negligencia, fechamentos constantes da Instituição, decorrentes de problemas na infraestrutura, carência de investimentos e recursos, são problemas escondidos com a realização de eventos midiáticos e populistas, na Instituição. Essa constituiu a história comunicada pela exposição.

歸功於虛擬實境(VR)技術的發展，使得虛擬實境可以逐漸應用在現 實生活當中。近幾年來，博物館一直嘗試應用虛擬實境的特性來增強參訪者的 體驗，目前也有許多研究工作著重在為博物館中的文物建模，但可惜的是與虛 擬實境可為博物館展覽帶來的效果之相關研究相對較少。因此，在本研究中， 我們用 S—O—R 的研究模型，並針對不同的文物類型:器物類、書畫類、書 法類，探討虛擬實境的系統設計特性對使用者體驗的影響。 本研究的研究方法是採用問卷形式，參訪者會實際體驗故宮博物院展覽 的虛擬實境。問卷分析後的結果顯示，虛擬實境的系統設計對使用者體驗及未 來的參訪意圖有很大的相關性。本研究比較也針對不同的文物類型做比較，結 果表示不同的文物類型適合的系統設計是不同的。最後也根據問卷結果對不同 的文物類型提供了未來系統設計的建議，可以作為未來設計相關博物館展覽虛 擬實境的參考。 / Virtual reality (VR) technology has already reached the level of maturity allowing it to be introduced into real-life applications. Recently, museums have been trying to apply it to enhance visitors’ experience and significant research efforts have also been made toward modeling relics in VR. However, there have been few studies on the real effects of VR exhibitions. In this study, we draw upon the stimulus–organism–response framework to theorize how system design feature stimuli affect the visitors’ experience of the VR exhibition at the National Palace Museum (NPM) and how the experience of VR impacts the visit intention. Furthermore, the study compares the VR effects across different kinds of relics (artifact, painting, and calligraphy). We create four empirical models: Model 0 does not consider the differences among relics, Model 1 focuses on artifacts, Model 2 focuses on paintings, and Model 3 focuses on calligraphies. A comparison of the different models shows that in Model 0, design features affect the VR experience, which in turn, impacts the visitors’ visit intention. The VR experiences were characterized by two dimensions: immersion and involvement. The former emphasized the visitors passively immersed in the VR and the latter referred to visitor initiative. Comparing Model 1, Model 2, and Model 3, all the design features have impact on the immersion level for all relic types. In case of calligraphy, the vividness impacts the involvement level and in case of artifacts, the interactivity impacts the involvement level. Based on the analysis, we also propose an improvement for the NPM’s present VR exhibition. The findings of this study can be referenced when designing new VR exhibitions for different relics.