A pesquisa apresenta estudo de gestão de museu com ênfase na subárea da comunicação e público, a luz de teóricos do campo da museologia, da administração e da educação, com estudo de caso do Museu do Trem de São Leopoldo, entre 2009 a 2012. Apresentando um panorama geral dos museus ferroviários no Brasil, com um relato histórico das iniciativas de criação destes museus, com dados da atuação do PRESERVE/PRESERFE remontados através de entrevistas, além da discussão em torno dos mecanismos de proteção do patrimônio industrial ferroviário. Neste contexto também são mapeadas as instituições museais ferroviárias no Rio Grande do Sul, apresentando a trajetória histórica e cronológica do Museu do Trem de São Leopoldo, desde a criação na década de 1970, o restauro da antiga Estação, as dificuldades com a extinção da RFFSA, as subsequentes reinaugurações até o ano de 2012. A investigação passa por análise quantitativa e qualitativa de aspectos da realidade empírica, encerrando com a reflexão sobre as contribuições desta experiência para a prática da gestão em museus, comunicação e público. / The research presents museum management studies with an emphasis on communication and the public subarea, considering theoreticians in the museology, administration and education fields, with the case study of São Leopoldo\'s Train Museum from 2009 to 2012. Presenting an overview of the railway museums in Brazil, with a historical account of the creation of such museums, with data from the performance of the PRESERVE/PRESERFE reassembled through interviews, in addition to the discussion of the protection mechanisms of the railway industrial heritage. In this context, the railway museum institutions are also mapped in Rio Grande do Sul, presenting the historical and chronological trajectory of the São Leopoldo\'s Train Museum, since the creation in the 1970s, restoration of the old station, the difficulties with the extinction of RFFSA, the subsequent reopening until the year 2012. The research involves quantitative and qualitative analysis of aspects of empirical reality, ending with a reflection on the contribution of this experience to the practice of management in museums, communication and public.

Essa dissertação versa sobre a noção de arte afro-brasileira, tomando os principais estudos voltados à questão, exposições emblemáticas ao redor do tema e os contextos de fundação e expografia de duas instituições decisivas da área o Museu Afro-Brasileiro, em Salvador, e o Museu Afro Brasil, em São Paulo como meios privilegiados de acesso às disputas conceituais e políticas que a constituem. Subjaz ao entendimento geral do estudo que as dificuldades de conceituação dessa arte de muitos nomes negra, afrodescendente, afro-orientada, diaspórica, preta etc. e os distintos significados que lhe foram sendo atribuídos ao longo do século XX, se relacionam de maneira incerta, porém constante, com as ambiguidades que informam as relações raciais no Brasil. Os capítulos que compõem essa dissertação buscam se debruçar sobre esse mosaico de usos, interpretações e definições que dão corpo e sentido, ainda que instável, ao termo. Afinal, quando se faz ou se fala em arte afrobrasileira, do que se está falando e o que se está fazendo? Quando uma exposição ou museu são organizados em torno desse conceito, que critérios e entendimentos são por eles acionados e, por fim, também criados? / privileged means to access the conceptual and political disputes that constitute it studies and emblematic exhibitions on the subject, and the contexts of creation and expography of two decisive institutions of the area, the Museu Afro-Brasileiro in Salvador and the Museu Afro Brasil in São Paulo. It underlies this study that the difficulties of conceptualizing this many named Art - black, Afro-descendent, Afrooriented, diasporic etc. - and the multiple meanings given to it along the 20th century are related in an uncertain but constant way to the ambiguities of racial relations in Brazil. The chapters of this dissertation seek to explore the multiple uses, interpretations and definitions that give body and meaning, albeit uncertain to this notion. After all, when Afro-Brazilian Art is produced or talked about, what exactly is being produced or talked about? When an exhibition or museum are organized around the subject, what understandings and criteria are being used and also created?

A presente pesquisa teve por objetivo geral analisar os usos dos termos documentação, documento e objeto no contexto da área de museus. Tal contexto foi caracterizado em dois universos: o teórico, da literatura selecionada de caráter teórico da Documentação, Ciência da Informação e a Museologia, e o prático, composto por duas normas da área de museus. Os objetivos de trabalhar com estes dois universos foram mapear, caracterizar e problematizar ideias, tensões e aproximações entre os universos da teoria e da prática, sem a pretensão de se chegar a uma definição unívoca dos mesmos. Para alcançar tais objetivos, optou-se por uma metodologia exploratória, descritiva, comparativa e que se valeu de elementos de pesquisa histórica. No que se refere aos procedimentos, se realizou essencialmente levantamento bibliográfico e uso de ficha de coleta terminológica para o termo documentação - apenas para sistematizar significados e não para propor uma definição unívoca. A comparação entre os usos dos termos estudados apresentam polissemia e certa ambiguidade e, no que se refere particularmente ao termo documentação, ainda há um discurso que reitera a ideia de sua vinculação com a questão do controle das coleções. Os resultados desta investigação reforçam que a diversidade de significados influencia fortemente o que se realiza na prática profissional. Além disso, os usos consolidam diferentes tradições e formas de se conceber documentação e objetos-documentos nos museus - o que deve ser cada vez mais pesquisado para reforçar laços e rever conceitos e procedimentos. Por último, vale destacar que o propósito deste trabalho foi de explorar as diferenças terminológicas, tão inerentes ao universo dos museus, e colocar questões de como operar com elas e a partir delas. / The present study aimed to analyze the general uses of the terms documentation, document and object within the context of the museums field. This context was characterized in two universes: the theoretical, represented by selected bibliography taken from Documentation, Information Science and Museology, and practical, consisting of two standards of museums area. The objectives of working with these two universes were to map, characterize and discuss ideas, approaches and tensions between the worlds of theory and practice, without the intention of getting any unique definition. In order to get those objectives, an exploratory, descriptive, comparative methodology was chosen, that also drew upon elements of historical research. As regards procedures, bibliographic record and use of terminological data collection form for the term documentation were used, and this last one was only to systematize meanings and not to elaborate a unified definition. The comparison between the uses of the terms being studied point out their polysemy and ambiguity and, in the case of term documentation, the idea of its connection with the control of the collections still remains. Results of this study also reinforce this diversity of meanings strongly influences what is done in professional practice. Furthermore, it consolidates different traditions and ways of conceiving documentation and objects-documents in museums - which should be increasingly researched to reinforce ties and review concepts and procedures. Finally, it is worth noting that the purpose of this study was to explore the terminological differences, so inherent to the universe of museums, and raise the issue of how to deal with them and from them.

Yang Lu, Louise. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2009-2010, design report." / "May 2010." / Includes bibliographical references (leaves 55).

Folklife scholars often produce work which is valuable to outdoor museums and historic sites. Folklife scholars deal with functional, contextual, emic, and interdisciplinary studies--all approaches which produce valuable interpretive data for museums and sites. This thesis is an example of folklife work designed for use in the museum field. Outdoor museums and historic sites are increasingly involved with the interpretation of social and emotional life. Because it is a social and emotional event, dance can be a valuable part of this interpretation. Sites and museums developing programs of traditional dance interpretation may find it helpful to follow several steps: 1.) determine through research that dance did occur at the site and time period portrayed; 2.) identify the interpretive themes and objectives dance can fulfill; 3.) gather as much information about the site's dance traditions as possible through research employing a wide variety of sources; 4.) learn to perform the dances, identify their interpretive significance, and incorporate them in interpretive programs. The text includes both descriptions and examples of a wide variety of research sources--primary, secondary, iconographic, material culture, and others. Also included is a checklist of aspects of dance events any or all of which staff members may wish to research and interpret. The closing "Sources and Resources" section is an annotated guide to books, periodicals, organizations, and other sources of assistance in dance interpretation.

<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>

The sinking of the RMS Titanic has achieved a difficult feat ��� it has remained culturally relevant. The dedication of the general public to understanding Titanic is evident in many avenues of popular and consumer culture. For those individuals who did not get enough of the 1997 Titanic movie, there are numerous Titanic museums and attractions to visit. What interests me as a scholar of historic dress is that the 1997 film is often used as a lens through which the historical events are interpreted and understood. More specifically the character of Rose (from the 1997 Titanic movie) has been translated from a film character to a living history character. Rose has become an integral part of the marketing and exhibiting techniques at some Titanic museum attractions. The purpose of this research was to conduct an introductory exploration of the role of film costume iconography in learning about a historical event and the development of a personal connection with an iconic character in the context of that event. Four permanent Titanic museum attractions were selected as sites of study: museum attractions in Branson, Missouri; Pigeon Forge, Tennessee; Orlando, Florida; and Las Vegas, Nevada. A total of 32 participants were included. Both museum attraction visitors and staff participated in this study; twenty-nine participants were classified as visitors and three participants were classified as staff. Phenomenological and inductive approaches were undertaken. Qualitative (personal phenomenology, phenomenological interviews, and brief participant observation) data collection techniques were employed. Both descriptive and experiential phenomenological and narrative approaches were combined to analyze the resulting data. I utilized a descriptive phenomenological method outlined by Giorgi and Giorgi (2003), and I made modifications to the procedure to fit the unique needs of my data. Data collection occurred in two phases at each location. In phase one, I participated in personal phenomenology during a visit to each museum attraction. In phase two, I collected data with participants. Data collection with visitor participants occurred in three stages: (1) pre-museum attraction visit interview, (2) the participant visited a Titanic museum attraction, and (3) post-museum attraction visit interview. I collected data with each staff participant during one interview. The findings of this study revealed that there are many perspectives from which to tell the story of Titanic and help museum attraction visitors learn the history of the ill-fated ship. I found that Rose did not factor into the decision of the participants to visit a Titanic museum attraction. If a participant learned from or about Rose, she did not factor into the learning or personal meaning-making process until he or she was inside the museum attraction. It was more common for participants to relate to the historical events of Titanic through the movie as a whole, as opposed to the specific character of Rose. The scenario of including a Rose living history interpreter as part of the lived experience of a museum visit elicited a wide range of reactions from participants. It was more common for participants to oppose the presence of a Rose living history interpreter than favor her presence. Several participants reported instances when they drew a spontaneous connection to the movie or were reminded of the movie in their own mind. Several participants used the movie as a foundation to build further historical understanding about Titanic. Some participants used the movie as a source of comparison to explore or confirm the accuracy of the movie. The primary difference in the museum attraction experience for visitors who had not seen the movie was that they encountered difficulty in relating and paying attention to any content or reference to the movie. A general phenomenological structure was formed from the data. As part of this study, I sought to further expand the body of literature that applies visual rhetorical theory and semiotic theory to dress and costume. A discussion of the resulting theoretical implications is included. An outcome of the phenomenological data collection and analysis was a list of recommendations for future practice specifically related to the display of dress and costume in both Titanic museum attractions and museums in general. I conclude with recommendations for future research and a reflective summary. / Graduation date: 2013

AudioApps är ett företag som tillverkar mobilapplikationer till bland annat museer och gallerier. Deras företagsidé är att göra museibesök roligare för besökare genom mobila audioguider. I den här undersökningen studeras utvecklingen av en sådan tjänst som tagits fram för Nationalmuseum, ett av Sveriges ledande museer. Syftet med studien har varit att undersöka hur AudioApps kan hjälpa Nationalmuseums kunder att attrahera fler besökare, samt hur AudioApps egna varumärke kan utnyttjas i eller påverka tjänsterna. Studien avgränsas av Nationalmuseum som ensam representant för hela den bransch som AudioApps vill jobba med och av den enskilda målgrupp som undersökts. Målgruppen består av personer mellan 20-30 år som anses vara ”något intresserade” av kultur och konst. De frågor som har undersökts är hur AudioApps varumärkeskommunikation kan formas för att attrahera fler besökare till Nationalmuseum och hur AudioApps tjänst kan formas för att göra ett museibesök mer attraktivt för den valda målgruppen. Kvalitativa metoder med strukturerade intervjuer och tester, efter en förberedande fallstudie av Nationalmuseum, har använts för att undersöka frågeställningarna. Det framgick av undersökningen att målgruppen gärna ville ha hjälp av extra information vid ett museibesök. Kostnad och frihet var viktiga aspekter angående sådan extra information. Att öka attraktionen för ett museibesök var också något som kunde förbättras, som målgruppen själv gärna ville. Det visade sig att ett problem låg i bristen på tydlig marknadsföring. Den tjänst som testades på målgruppen togs emot positivt. Den uppfyllde kraven på kostnad, smidighet och tillät en tydligare kommunikation mellan museet och dess besökare. Det framgick även av testerna att AudioApps varumärkeskommunikation förhöjde den visuella upplevelsen av tjänsten. / AudioApps produces mobile applications to use at museums and galleries. As a company, they want to make a visit to a museum more attractive for visitors through mobile audio systems. In this investigation the development of such an application which has been made for Nationalmuseum, one of Swedens top museums, was studied. The purpose of this thesis was to study how AudioApps can help their customers attract more visitors and how AudioApps own brand can be of use and affect the products. The thesis is limited by Nationalmuseum as a sole representative of the industry AudioApps aims to address and by the target group that’s chosen for the study. The target group consists of people in the age of 20 to 30 years old and who are "somewhat interested" in arts and culture. The main questions of this thesis are how AudioApps’ brand communication can be formed to attract motre visitors to Nationalmuseum and how AudioApps’ product can make a museum visit more attractive. Qualitative methods, which started off with a case study of Nationalmuseum, has been used for this study, with mainly structured interviews and tests. The study has shown that the target group enjoys extra information during a visit. Cost and freedom were important aspects regarding that kind of information. Making a visit in the first place was something that needed improvement, which the target group itself wanted. The problem was the communication which needed to be more clear. The product was well received by the target group during tests. It met the requirements of cost, freedom and allowed a direct and clear communication between the museum and its customers. The tests also showed that AudioApps’ brand communication enhanced the visual experience of the product.

Macht, Wissen, Teilhabe – diese Begriffe sind für die Entwicklung von Sammlungsinstitutionen im 21. Jahrhundert zentral. Wie können Museen und Bibliotheken ihre Rolle als Vermittler, Bewahrer und Produzenten von kulturellem Wissen neu denken? Welche Rolle spielen ihre Besucherinnen und Besucher? Wer kann in einer globalisierten und digitalen Welt Deutungsmacht ausüben? Die Beiträge aus Wissenschaft und Praxis reflektieren aus unterschiedlichen Perspektiven, wie sich Museen und Bibliotheken in diesem Spannungsfeld positionieren. So befassen sich Karl-Siegbert Rehberg, Horst Bredekamp, Lambert Wiesing und Wolfgang Ullrich grundlegend mit Praktiken des Sammelns, Zeigens und Ausstellens. Ursula Rao, Stefanie Mauksch und Sarah Fründt gehen auf die besondere Rolle von Ethnologischen Museen ein, während Susanne Wernsing und Cindy Denner aus kuratorischer Perspektive neue Wege der Wissensproduktion in Ausstellungen beschreiben.

Les musées d’art sont des lieux privilégiés pour contempler les productions artistiques du passé et d’aujourd’hui. En vertu de leur mandat, ceux-ci ont la tâche difficile de concilier leurs fonctions de délectation et d’éducation du public. Certains favorisent une approche plutôt que l’autre, mais tous portent un regard subjectif sur ce qu’ils exposent. Même si les oeuvres semblent être disposées naturellement dans les salles, tout ce qui relève de la conception et de la réalisation des expositions est savamment construit et résulte d’un parti-pris de la part du musée. En fonction de ses choix, c’est-à-dire de ce qu’elle présente ou non et comment elle le fait, l’institution muséale participe à la définition de ce qu’est l’art et influence la signification des oeuvres. En conséquence, chaque musée est producteur d’un discours qui véhicule notamment sa vision de l’histoire de l’art et ses valeurs institutionnelles. Ce discours est produit tant par les écrits qui sont installés auprès des oeuvres que par l’ensemble du dispositif muséographique qui les entoure. Ce mémoire explore, à travers l’analyse comparative de quatre musées des beaux-arts québécois, les éléments constitutifs d’un tel discours ainsi que les relations qui s’instaurent entre les différentes composantes du discours muséal et ce qui est montré dans leurs salles d’exposition. / Art museums are the perfect settings to gaze at past and actual works of art. According to their mandate, the museums have to conciliate two functions that can be difficult to manage, that is to say their functions of enjoyment and education. Some favor one approach instead of the other, but each museum is subjective in the way it exhibits works of art. Even if the art seems to be displayed naturally in the galleries, everything that is related to the conception and the realisation of the exhibition is the object of a construction and results from a decision of the museum. In accordance with their choices, that is to say which objects are presented or not, and the way they are exhibited, the museums contribute to define what art is, and influence the meanings of the works of art. Consequently, each museum transmits its own vision of art history and its institutional values. This particular discourse can be foregrounded as much by the writings installed near the works of art as by the museography around them. With a comparative analysis of four fine arts museums from the province of Quebec (Canada), this thesis explores a typology of museums discourses, as well as the intertwined relations between the different components of those discourses and the works of art that are shown in their galleries.