La question du statut des objets issus des sociétés extra-occidentales conservés dans les musées occidentaux restait posée, jusqu’à récemment, dans les termes du paradigme construit au cours du vingtième siècle opposant le statut ethnographique au statut esthétique, et à partir d’une conception intrinsèque du statut des objets. La controverse suscitée par l’annonce du projet du musée du quai Branly au sein des communautés anthropologique et muséale en témoigne. Cette recherche propose de renouveler l’approche du statut des objets extra-occidentaux en adoptant une conception extrinsèque du statut des objets. Elle repose sur deux analyses sémiotiques successives de l’exposition permanente du musée du quai Branly. La première vise à analyser séparément et exhaustivement les registres médiatiques de l’espace, scriptovisuel et audiovisuel qui composent, avec le registre des objets, l’exposition ; la seconde à analyser, au sein d’un corpus restreint d’unités d’exposition, l’interaction des registres, dans le but final d’identifier les processus interprétatifs producteurs du sens des objets. L’objectif de cette double analyse consiste à vérifier que l’exposition permanente du musée du quai Branly assigne le statut d’objet de patrimoine aux objets issus des sociétés extra-occidentales qu’il conserve.La première partie de la thèse est consacrée à restituer la construction de la question de recherche, qui porte surle caractère patrimonial du statut des objets de musée extra-occidentaux, et à rendre compte des moyens méthodologiques mis en oeuvre pour y répondre. La deuxième partie, consacrée aux résultats de l’analyse séparée des registres, confirme que les marqueurs nécessaires à l’assignation du statut patrimonial des objets extra-occidentaux, les mondes d’origines ailleurs et muséaux, sont bien certifiés dans l’exposition. Elle montre également la mobilisation particulière du registre de l’espace. L’ensemble incite à formuler l’hypothèse que l’espace ne constitue pas un interprétant des objets, que les mondes d’origine ailleurs et muséaux occupent une place secondaire dans l’assignation du statut des objets et, finalement, que les objets sont les principaux interprétants des objets. Enfin, la troisième partie permet de vérifier que la certification de l’appartenance des objets à leur double monde d’origine est bien réalisée par le traitement muséal, l’exposition assigne donc bien le statut de patrimoine aux objets exposés, mais elle montre aussi que les éléments de la certification apparaissent comme secondaires, tandis que la production du sens des objets par la relation entre les objets favorise l’assignation d’un autre statut de l’objet : le statut de curiosité. En s’appuyant sur la production de la signification des objets par le dispositif d’exposition pour le visiteur, cette recherche permet de penser, plus largement, la capacité de l’exposition à proposer un discours neutre qui modifie son opérativité, et qui permet à l’institution muséale de se placer dans une posture de délégation du sens produit par l’exposition. / Until today, the question of the status of objects from non-Western societies preserved in Western museums wasraised, in terms of twentieth century paradigms which associated ethnographic and aesthetic status, and whichpresupposed objects to have an intrinsic status of their own. The controversy amongst anthropological andmuseum communities caused by the announcement of the Quai Branly museum project testifies to thesepresuppositions. This thesis aims to re-elaborate the approach to non-Western objects through an extrinsicapproach to their status. It rests on two subsequent semiotic analyses of the permanent exhibition of the QuaiBranly Museum. The first one analyzes separately and exhaustively the space, texts, pictures and audiovisualmaterial as media categories of the exhibition. The second one analyzes, in a restricted corpus of exhibitionunits, the interactions between different media categories with the goal of identifying the interpretative processeswhich produce the sense of the objects. The purpose of this double analysis is to verify whether the permanentexhibition of the Quai Branly Museum a heritage status to the objects from non-Western societies which itpreserves.The first part of the thesis presents the construction of the research question, focused on the heritage status ofnon-Western objects in museums, and explains the methods implemented to answer such a question. The secondpart, devoted to the results of the separate media categories’ analysis, confirms that the labels necessary to theassignment of heritage status to non-Western objects, the elsewhere world origin and museum world origin, areindeed present in the exhibition. It also shows the particular mobilization of space in the exhibition. Together,these two sections encourage us to theorize that space is not a mode of interpretation for objects, in that the“elsewhere” world origin and the museum world origin have but a secondary place in the assignment of objectstatus, while objects are themselves the main means for object interpretation. Finally, the third part verifies thatthe attestation of the objects’ double world of origin is effectively authenticated in the exhibition ; this sectionshows that, while the exhibition does assign a heritage status to the exhibits, the elements of authentification arenot necessary for the interpretation of the objects’ meaning, whereas the meaning produced by the relationshipbetween objects promotes the assignment of yet another object status : the status of curiosity. This thesis,focused on the production of object meaning for the visitor by means of the exhibition display, more broadlysuggests the exhibition’s ability to provide a neutral view which modifies its operativity, an ability which allowsthe museum to delegate the production of the object’s meaning to visitors.

This study is a critical analysis of the various opinions of why museums should digitize their heritage collections. The aim of the study is to break these opinions down and critically analyse them in order to increase our understanding of why digitization is a desirable activity in museums. The purpose is to contribute to sustainable digitization works in the future. The opinions analysed in this study have been identified from three main sources: previous research; official policies and guidelines; and through interviews with the staff at Nationalmuseum in Stockholm, Sweden.  An argument analysis was conducted to identify the main positive and negative opinions of digitization. A theoretical perspective based on the societal development from modernity to postmodernity was incorporated into the analysis to uncover why these particular opinions exist. The study shows that while several issues with digitizing the cultural heritage of museums were acknowledged, the attitude towards digitization was predominantly positive. The negative opinions and fears of digitization, such as the potential loss of the physical experience turned out to be either unwarranted or solvable. The positive effects of digitization, such as increased accessibility, outweighed the negative issues. The opinions found in the previous research and the official policies reflected those of the staff who had been working with digitization in recent years at Nationalmuseum. Analysing the opinions showed that digitization is essentially a postmodern activity that caters to the needs and aims of the postmodern society. The reason why museums, that are traditionally modern would resort to a postmodern activity such as digitization is because digitization does not in fact undermine the authority of the museum, but rather helps this institution to fulfil its role and stay relevant in a postmodern society. This study is a two-year master’s thesis in Museum and Cultural Heritage Studies.

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.

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / Esta dissertaÃÃo cujo tema versa sobre âEscola Normal Rural de Juazeiro do Norte: do Museu Vilas Nova Portugal à Sala de MemÃria AmÃlia Xavier de Oliveiraâ, objetiva analisar a importÃncia do antigo Museu Vilas Nova Portugal, criado pela Escola Normal Rural do Juazeiro do Norte, em 1934, como parte de um projeto civilizador, inserido no contexto histÃrico de sua criaÃÃo, como tambÃm conectÃ-la à Sala de MemÃria AmÃlia Xavier de Oliveira, criada em 2007, e que se encontra, atualmente, em momento de dispersÃo do acervo histÃrico e pedagÃgico da referida escola. Partiu de questionamentos que embasaram a pesquisa, em termos conceituais e metodolÃgicos, e indicaram o seu delineamento: 1) Qual papel desempenhou o Museu Vilas Nova Portugal, no ambiente educacional juazeirense, nas primeiras dÃcadas do sÃculo XX? 2) Qual teria sido a duraÃÃo do seu funcionamento e por que razÃo foi desativado? 3) Que funÃÃo desempenhou a Sala de MemÃria AmÃlia Xavier de Oliveira, quando foi criada e na atualidade? Abrange, portanto, dois perÃodos: 1934 aos anos de 1940; e de 2008 aos dias atuais. O estudo baseou-se nas ideias de Geertz (1989), sobre histÃria cultural; nos estudos de Maria JoÃo Mogarro (2013), sobre a relaÃÃo entre museu e patrimÃnio; na contribuiÃÃo de Norbert Elias (1993), quando explora a noÃÃo de civilidade como processo de transformaÃÃo dos costumes; e em Malinowisk (1976), por tratar a cultura como essencial para a compreensÃo da sociedade. Trata-se de uma pesquisa histÃricodescritiva, que se apoia em fontes documentais, bibliogrÃficas e orais, para entender o contexto de criaÃÃo dos referidos museus e, assim, apresentar a sua histÃria, localizada no tempo e no espaÃo, em Juazeiro do Norte-CearÃ. ComeÃou por identificar ideologias conflitantes em relaÃÃo à Museu e PatrimÃnio escolar, nas primeiras dÃcadas do sÃculo XX; reconheceu o papel do Escolanovismo, na criaÃÃo de museus de CiÃncias Naturais; e revelou a descontinuidade presente na experiÃncia museolÃgica do Juazeiro do Norte. Oferece, por fim, uma tentativa de reconstruÃÃo histÃrica dos dois museus, com base na interpretaÃÃo e anÃlise dos entrevistados e dos documentos encontrados, que funcionam como registro e testemunho da existÃncia dos referidos museus, como patrimÃnio escolar, ameaÃados pela falta de hÃbito, interesse e vontade polÃtica de sua preservaÃÃo e cultivo da memÃria histÃrica, o que poderà ser evitado por meio da instauraÃÃo do Museu da EducaÃÃo da Escola Normal Rural de Juazeiro do Norte-CearÃ, parte de uma luta travada por ex-alunos e professores daquela instituiÃÃo escolar. / This dissertation has as its theme: "Normal Rural School of Juazeiro do Norte: the Museum Towns New memory room Portugal AmÃlia Xavier de Oliveira". Objective to analyze the importance of the former Museum Towns New Portugal, created by the Normal School of Rural Juazeiro do Norte, in 1934, as part of a civilizing project, inserted into the historical context of its creation, as well as connect it to the Memory room AmÃlia Xavier de Oliveira, created in 2007, and is currently at time of dispersion of historical and pedagogical heritage of that school. Left a few questions that paved the way to research, conceptual and methodological terms, and indicated its delineation: 1) what role played the New Villages in Portugal Museum educational environment juazeirense, in the first decades of the 20th century? 2) which would have been the duration of its functioning and why was it disabled? 3) Who played the Memory function AmÃlia Xavier de Oliveira, when it was created and today? Therefore covers two periods: the years 1934 to 1940; and from 2008 to the present day. The study is based on the ideas of Geertz (1989) about cultural history, in studies of Maria JoÃo Mogarro (2013), about the relationship between Museum and heritage; on contribution of Norbert Elias (1993), when explores the notion of civility as the transformation process of the customs; in Malinowisk (1976) for treating culture as essential to the understanding of society. It is a historical research-descriptive lean on documentary sources, and oral literature; to understand the context of creation of such museums, and thus present their history, located in time and space, in Juazeiro do Norte-CearÃ. Started by identifying conflicting ideologies regarding school Heritage Museum and in the first decades of the 20th century; recognized the role of Escolanovismo, the creation of museums of natural sciences; revealed the discontinuity present in museological experience of Juazeiro do Norte. Offers Finally, an attempt at historical reconstruction of the two museums, based on interpretation and analysis of respondents and the documents found, which function as a record and testimony of the existence of these museums, such as school, heritage threatened by lack of habit, interest and political will of its preservation and cultivation of historical memory, which could be avoided through the establishment of Normal School Education Museum Juazeiro do Norte Rural CearÃ. Part of a struggle waged by former students of the school institution.

Essa pesquisa tem como objeto a musealização da arqueologia marítima na cidade de Santos. Para tanto, recorreu ao estudo de recepção com estudantes de uma escola municipal de Santos visando a coletar dados norteadores de política de comunicação inerente ao processo de musealização. O propósito é trabalhar com a arqueologia pública, utilizando-se de estratégias participativas que aproxime as pessoas da ciência arqueológica considerando o museu e seu público. O estudo apresenta as pesquisas em arqueologia na cidade de Santos. Essas investigações trouxeram outras possibilidades de leituras para a história da cidade oriundas do campo arqueológico. Porém, muitas das coleções geradas por elas estão guardadas em outras cidades. Por esse motivo, é de suma importância que esse material permaneça em Santos, para que a comunidade santista tenha acesso a esses conhecimentos via comunicação museológica e a linguagem expositiva. O museu assume contemporaneamente um importante papel, para instigar seu público a participar da valorização e preservação desse patrimônio. Como patrimônio da união os vestígios arqueológicos marítimos musealizados devem estar a serviço da sociedade e a sociedade a serviço da preservação de forma a construir caminhos e soluções coletivamente. / This research has the objective of musealization of maritime archaeology in the city of Santos. For accomplishing that goal this research used the study of receptivity with students of a city public school to collect guiding data of the communication policy inherent to that process of musealization. The purpose is to work with the public archaeology using participative strategies that gather the people and the archaeological science, taking into consideration the museum and its audience. This study presents archaeological researches in the city of Santos. From those searches new possibilities of revisiting the history of the city arose originated from the archaeological field. However many of those archaeological collections are kept in other cities. For this reason it is of utmost importance that those archaeological findings stay in Santos so that its community has access to such knowledge through museological communication and expositive language. So the museum assumes contemporaneously a most important role by instigating its audience to participate in the valuation and preservation of such asset. As a Brazilian asset those musealized archaeological vestiges should stay to the service of the society and the society should stay to the service of preservation so to collectively build ways and solutions.

The changes in culture public policies between 2003 and 2014, especially regarding to museums national policy, bring up the semantics moves about museum and the historical and cultural heritage about the question of creativity. This research uses the Museu da Gente Sergipana Governador Marcelo Déda (MGS) as empirical object and locus of materialization of the cultural guidelines proposed by the state government in conformity to federal government policies through the national museums policies. So, in order to locate our object amongst this discussion, it was necessary to do a conceptual reconstitution of museum institutions on the basis of the proposals of Oliveira (2008), Choay (2008), Funari e Pelegrini (2008 e 2009) who make an approach through politics, memory and history. Therefrom, what we propose is to locate the museums inside the perspective of the Creative Economy, which, by the way, lead us to the economic dimension proposed by Lula (2003-2010) and Dilma (2011-2014) public policies, approached her by the sight of the Political Economy of Culture and Communication. At last, so we focused on Sergipe's museum policies and analyzed the MGS schedule because it is considered one of the most important museums in the state and in the country due to its expography that uses technological resources in order to narrate the material, immaterial and environmental culture of Sergipe. The results points that, in Sergipe, the MGS cant's stand the idea of being the driving force of a productive chain in local economy because the museums in general deal with inherent paradigms such as gratuity, educational bias and an institutional effort to the cultural formation of the population. So, we might affirm that our object is a space of dissemination of ideas based on the political standpoint of Sergipe identity as part of the formation of local consumers. / As mudanças nas políticas públicas de cultura entre 2003 e 2014, especialmente no que tange à política nacional de museus, trazem à baila os movimentos semânticos sobre os museus e o patrimônio histórico e cultural acerca do debate da criatividade. A pesquisa utiliza o Museu da Gente Sergipana Governador Marcelo Déda (MGS) como objeto empírico e locus de materialização das políticas culturais propostas pelo governo estadual, em consonância com as diretrizes estabelecidas pelo governo federal através da política nacional de museus. Para situar o museu dentro da temática das políticas públicas foi necessário fazer uma reconstituição conceitual sobre as instituições museais a partir da proposta de Oliveira (2008), Choay (2008), Funari e Pelegrini (2008 e 2009) que abordam a temática na relação entre política, memória e história. A partir desse ponto, o que propomos é situar os museus no aspecto da economia criativa que remete à ideia da dimensão econômica proposta pelas políticas públicas dos governos Lula (2003-2010) e Dilma (2011-2014) através da abordagem crítica da Economia Política da Comunicação da Cultura. Por último, então fizemos um recorte sobre a política para museus em Sergipe e analisamos a programação do MGS por ser um dos museus mais importantes de Sergipe e do Brasil devido à expografia que utiliza-se de recursos tecnológicos para narrar a cultura material, imaterial e ambiental do estado. Os resultados encontrados apontam que, em Sergipe, o MGS não suporta ainda a ideia de gerar um serviço que possa movimentar a cadeia produtiva da economia local, uma vez que os museus lidam com paradigmas inerentes à sua composição institucional tal como a gratuidade, o caráter educacional e empreendimento para a formação cultural da população. O que nos permite afirmar que o nosso objeto constitui-se como um espaço de disseminação de ideias alicerçadas na visão política sobre a identidade sergipana como constitutivo para a formação de um consumidor local.

Orientador: Marcos Tognon / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-14T08:46:04Z (GMT). No. of bitstreams: 1 Scarpeline_Rosaelena_M.pdf: 13306582 bytes, checksum: f568c3782a5dfbc3ae4de7fab2b16582 (MD5) Previous issue date: 2009 / Resumo: Estudaremos a Casa Museu Rui Barbosa, situada no Rio de Janeiro, local que Rui e sua família ocuparam por 28 anos e que com sua morte em 1923, que foi vendida para governo brasileiro para ser transformado em um Museu Biblioteca. Ao ser institucionalizada como lugar de memória, deixou de ser residência de um homem público e passou a ser um bem, uma referência à sociedade e a nação. Uma casa que deve ser preservada, não por ser um exemplar arquitetônico de sua época, mas por ser um marco histórico, um monumento, local onde deve ser reverenciada a presença de seu proprietário, para que não caia no esquecimento coletivo seus feitos e saberes. Sabemos que a função principal de uma Casa Museu é, através da narrativa histórica do patrimônio material e imaterial, criar uma ambientação crível que levará o visitante a compartilhar a vivência de seu personagem símbolo, adquirindo conhecimento. Partindo desse principio vamos delinear quais são os caminhos utilizados para nortear a montagem de uma casa museu, nos inserindo em um universo multidisciplinar em busca do embasamento necessário a sua museografia. Pois reforçando igualdades e diferenças, somos responsáveis por tecer a teia que vai reforçar a presença do personagem símbolo, na história e memória de nosso país. Personagem digno de ser destacado, homenageado, um mito a ser reverenciado. / Abstract: We will study The Rui Barbosa museum at in Rio de Janeiro. The place where Rui and his family lived for twenty eight years and after his death in 1923, was transformed into a museum by the Brazilian government. At the moment it was institutionalized as a place of memory, it ceased to be a place of residence and became a reference for society and nation. The house should be preserved, not as an architectural example of its time, but as a historical mark, a monument, a place which should be reverenced for its former proprietor's presence, so it doesn't became a forgotten mark of his work and life. We know that the main function of a museum is, through the historical narrative of the material and immaterial patrimony, to create a believable environment for the visitor to share the existence of the symbol character while acquiring knowledge. Through this principal we will demonstrate the fundamental structure of a residence museum, using a multidisciplinary strategy. In reinforce similarities and differences, we carry responsibility to enforce the presence of the symbol character in the history and memory of our country. Rui Barbosa was a character worthy to be honored and revered. / Mestrado / Politica, Memoria e Cidade / Mestre em História

O presente trabalho tem como foco principal estudar o Museu Casa da Xilogravura da cidade do Campos do Jordão. Uma questão foi desenvolvida a partir da colaboração da Arte/educação nas ações educativas do Museu: Quais as possibilidades educativas do Museu Casa da Xilogravura para a formação inicial de professores de Arte Visuais? Resgataram-se informações sobre o Festival de Inverno de Campos do Jordão, como medida para reestabelecer relações com as ações contemporâneas sugeridas nesta pesquisa: a ligação da formação de professores em Artes Visuais com a cidade de Campos do Jordão, como também com suas cercanias. Outros assuntos pertinentes ao trabalho foram desenvolvidos como, por exemplo, os estudos sobre a abordagem do ensino superior, elaborados pelos professores Paulo Freire e Thierry De Duve, que embasaram a discussão sobre a formação inicial de professores de artes. Breve estudo sobre a legislação no ensino da arte foi escrito para reflexões sobre as políticas públicas no Ensino Superior. Um recorte de estudo sobre a importância do trabalho educativo dos museus como formação de um conceito, bem como um recorte histórico do Educativo dos primeiros museus paulistas, também consta deste trabalho. Foram desenvolvidos estudos sobre Curadoria Educativa e museu, e acervos digitais, devido às suas relações com a proposta da tese. Foi feito um levantamento de trabalhos com bases no Projeto Observatório da Formação de Professores que versavam a respeito da Educação em Museus no âmbito da graduação, que por sinal notou-se uma quantia bem pequena na pesquisa. Um pequeno histórico a respeito da formação do acervo do Museu Casa da Xilogravura foi realizado, por meio de informação bibliográfica, documental e depoimentos orais. Foram atualizados os dados quantitativos referentes às visitações presenciais dos estudantes de Ensino Básico ao Museu, assim como a maneira pela qual o visitante espontâneo acessa as informações sobre a Instituição. Um aprofundamento a respeito da Leitura da Obra de Arte, no âmbito da Abordagem Triangular do Ensino da Arte de Ana Mae Barbosa, e o Desenvolvimento Estético foi pensado sob à luz dos conceitos de quatro pesquisadores: Edmund B. Feldman, Robert W. Ott, Michael J. Parsons e Abigail Housen. Construiu-se um modelo autônomo, porém com bases nessas teorias, que levou a uma proposta de Material de Apoio ao professor em Artes Visuais, a ser oferecida às Instituições de Ensino Superior das regiões do Vale do Paraíba, sul de Minas Gerais e Rio de Janeiro. Este material apresenta a obra de Lasar Segall, chamada \"Casal no Mangue\", de 1929, xilogravura impressa em papel, que faz parte do acervo do Museu Casa da Xilogravura. / The current dissertation focuses mainly on studying the Woodcutting House Museum in the town of Campos do Jordão. A question was raised regarding the Arts/Education cooperation related to the teaching activities of this museum: \"What are the educational possibilities of the Casa da Xilogravura Museum for the initial training of Visual Art teachers?\". Information was gathered on the Festival de Inverno de Campos do Jordão (Winter Festival of Campos do Jordão) as parameters to reestablishing the relationships with current actions in which we suggest in this research a link between the visual arts teacher training and the town of Campos do Jordão, as well as its surroundings. Other pertinent issues were also considered, such as the approach to advanced studies elaborated by the professors Paulo Freire and Thierry De Duve as the basis for the discussion about the initial training of arts teachers. Brief study on legislation in the teaching of art was written for reflections on public policies in Higher Education. This paper comprises a cross section of the importance of the teaching work of the museums as basis of a concept, as well as a historic cross section on the teaching aspect of the first museums of the State of São Paulo. Studies on Educational Curatorship and Museum and digital collections were developed based on the relations we suggest on this thesis. A survey was carried out on the basis of the Observatory Project for Teacher Training, which dealt with the Education in Museums within the scope of graduation, which, by the way, was a very small amount in the research. A brief record on the development of the collection belonging to the Casa da Xilogravura Museum was made using bibliographic, documental and oral statement information; and we updated the quantitative data regarding personal visits of Fundamental School students to the Museum, as well as how the spontaneous visitor accesses the existing information on it. The study thoroughly contemplates the reading of the works-of-arts within the scope of the Triangular Approach of Arts Teaching by Ana Mae Barbosa; also, the Aesthetic Development was regarded in the light of the concepts of four researchers: Edmund B. Feldman, Robert W. Ott, Michael J. Parsons and Abigail Housen. We built an autonomous model based on these theories, which led us to propose Support Materials to the Visual Arts teacher which should be offered to the Colleges of the regions of Vale do Paraíba, South of Minas Gerais and South of Rio de Janeiro. This material presents the work of Lasar Segall, called \"Couple in the Mangue\", 1929, woodcut printed on paper, which is part of the collection of the Casa da Xilogravura Museum.

Made available in DSpace on 2016-03-15T19:42:14Z (GMT). No. of bitstreams: 1 Priscila Zanganatto Mafra.pdf: 6993187 bytes, checksum: 2c4ea29fea7f002e08b5bae032968687 (MD5) Previous issue date: 2012-02-29 / This research was developed from an inquietude to investigate the interrelationships of Education, Arts, Culture and Technology in the spaces that go beyond the universe of the classroom. Transformations are investigated in the museum institution, covering the interactive museums, including the Football Museum and the Catavento Museum, preceding the focus of this study which lies on the research in the Portuguese Language Museum. Would it be a cultural mediator through its digital environments and interactive relationship with the public? What is the reaction of visitors when facing the Portuguese Language Museum and its digital environments? To answer those questions, under ethnographic inspiration, the research was conducted involving field observations of environments and visitors, involving interviews with museum professionals, and a participation in different educational activities promoted by the Portuguese Language Museum, besides documental research and research in the cyberspace, through the museum s website and social networks. The registers were made from the language of "words" and "images , analyzed, classified and interpreted from, based on the theoretical study. The wondering and use of the Portuguese language, the interactivity and cultural mediation in digital environments, show that the learning and enjoyment depend on the interest and participation of each visitor of the Museum of the Portuguese Language, which, in its environment and actions invite and provoke their audience to interact. / Essa pesquisa foi desenvolvida partindo da minha inquietação em investigar as inter-relações entre Educação, Arte, Cultura e Tecnologia nos espaços que vão além do universo da sala de aula. Investigo as transformações na instituição museu até os Museus Interativos e descrevo, brevemente, o Museu do Futebol e o Museu Catavento. Porém, o foco desse estudo deu-se na investigação no Museu da Língua Portuguesa. Será ele um mediador cultural através de seus ambientes digitais e da relação interativa com o público? Qual a reação dos visitantes ao se depararem com o Museu da Língua Portuguesa e seus ambientes digitais? E o que as reações frente ao MLP geram nos visitantes? Para responder tais questões, partindo do método etnográfico, realizei pesquisa de campo para observações dos ambientes e dos visitantes, entrevistas com profissionais do Museu, e participei de diferentes ações educativas promovidas pelo MLP. Também acompanhei o MLP no ciberespaço, pelo seu website e nas redes sociais. Os registros foram feitos a partir da linguagem de palavras e de imagens , analisados, classificados e interpretados a partir dos referenciais teóricos estudados sobre o uso e reflexão da língua portuguesa, a interatividade e a mediação cultural nos ambientes digitais.

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.