En 1974 et 1981, deux musées nationaux d’un genre nouveau ont été fondés au Japon : successivement, le Musée national d’ethnologie dans le Kansai, et le Musée national d’histoire et de folklore dans le Kantô. Le premier expose l’ensemble des cultures étrangères ainsi que celle de l’archipel, à travers une approche ethnologique, quand le second se concentre sur l’histoire, le folklore et l’archéologie du Japon. Ce travail vise à analyser le processus de construction et la manière dont le Japon est (re)présenté à travers ces deux musées, en les inscrivant dans une histoire aussi bien muséale que disciplinaire. Leur création dans un Japon en plein essor économique et, par surcroît, qui venait de rejoindre les grandes puissances sur la scène internationale, les associe d’emblée à une volonté de positionner la culture et l’histoire nationale, afin de rendre compte de son particularisme, ou encore de son homogénéité ; théories alors largement répandues à cette période. Si ce contexte idéologique rejaillit en partie dans les choix muséographiques et programmatiques, ce n’est pas tant pour y adhérer que sous forme de tensions propres au caractère national de ces deux musées. La muséographie étant à la charge des chercheurs et non des conservateurs, ce sont d’abord des enjeux disciplinaires qui conditionnent l’exposition. La tension se situe aussi bien dans la peur de l’instrumentalisation que dans l’exigence de la rigueur scientifique pour se légitimer ; ce qui se traduira sous forme de négociations et d’ajustements entre l’autorité du discours scientifique et celui, plus politique, de l’État-nation. / In 1974 and 1981, two national museums of a new kind were established in Japan : successively, the National Museum of Ethnology in the Kansai region, and the National Museum of History and Folklore in the Kantô region. The first exhibits foreign cultures, as well as cultures of the Japanese archipelago, using an ethnological approach, whereas the second focuses on the history, folklore and archeology of Japan. This work aims at analysing the process of construction and the way Japan is (re)presented in these two museums, while replacing them in both museum and disciplinary history. Their establishment, in the context of Japanese economic growth, in a country who had just joined the ranks of global powers is thus linked with a strong will to present national history and culture in order to show its particularism, or its homogeneity ; both such theories were widely prevalent in this period. If this ideological context is partly reflected in the museographic and programmatic choices, it’s not so much to adhere to them, but can be perceived in the form of tensions, pertaining to the national character of these two museums. Since the museography was left to researchers and not curators, it is first and foremost the disciplinary stakes which condition the exhibition. The tension arises from the clash of intrumentalisation, and the demand for scientific rigor to legitimate certain claims, materilazed by negociations and adjustments between the authority of the scientific discourse and that, more political, of the nation-state.

O museu de arte moderna e contemporânea é uma instituição que possui relações complexas com a arte, com o mercado da arte e, com os públicos. Suas origens remontam ao museu tradicional e, em linhas gerais, mantém suas atribuições básicas e pouco muda ao longo do tempo, mas passa a agregar novas e diferentes funções. Parte-se da hipótese de que, em face às novas manifestações culturais, às práticas das artes, aos hábitos culturais e às novas formas de organização - que se situam num outro registro, em coletivos, trabalhos colaborativos ou agrupamentos assemelhados - o museu necessita rever sua atuação se desejar participar ativamente do processo cultural contemporâneo. Para examinar o problema, partimos da análise do museu desde suas origens, verificando que ele surge na confluência de práticas tradicionais das coleções e gabinetes de curiosidades, e das ideias do Renascimento, que se adensam com o iluminismo buscando autonomia e o exercício da função pedagógica. Em seguida, analisamos o impacto que sofreu com as Exposições Universais e com o modernismo nas artes. Nesse longo percurso, buscamos identificar os diferentes tipos de ações de mediação que o museu realizou com os públicos, desde os catálogos e a expografia, até os seminários, debates e ações educativas. As novas funções que adquire no início do século XX e o processo de revitalização no final desse mesmo século transformam o museu numa das grandes atrações turísticas de nossos tempos. Na contemporaneidade, paralelamente ao museu, e fora dele, surgem propostas em rede de pedagogias coletivas que ampliam e atualizam este campo por meio da construção coletiva de experiências artísticas, de mediação, debates, plataformas de discussão e de documentação, que retiram tais atividades de um certo \'anonimato\' e dispersão, para se tornarem públicas. Sem abandonar tudo o que tem feito e sem, necessariamente, abraçar exclusivamente as práticas mais radicais, o museu pode participar das novas redes que estão se formando e estabelecer relações ricas e produtivas, funcionando simultaneamente como um ponto de emissão e de recepção na qual interagem artistas, instituições e públicos, onde todos são ativos. Dissolve-se, assim, o papel pedagógico nos moldes iluministas que possui o museu. / The museum of modern and contemporary art is an institution that has complex relationships with the art market, the public and the art itself. Its origins date back to the traditional museum and while keeping its basic characteristics with very little change over time it added some new and different functions. The hypothesis is: taking into consideration the contemporary form of cultural manifestations, art practices, cultural habits and organizations such as collectives and collective work, the museum needs to rethink itself if it wants to participate actively in the contemporary cultural process. To examine this problem we analyze the museum history, observing it has originated from the confluence of collections and curiosity cabinets traditional practices and the Renaissance ideas, further emphasized by the Enlightenment concepts, seeking autonomy and the exercise of a pedagogical function. Then we analyze the impact exerted on it by Universal Exhibitions and Modernism in arts. Through this long journey, we try to identify the different types of mediation actions the museum has developed with its audience, from catalogs and expography to seminars, debates and educational actions. The new functions it has acquired in the beginning of the twentieth century and the revitalization process experienced in the late twentieth century transformed the museum into one of the main tourist attractions of our times. In contemporary times, new interrelated, networked pedagogical propositions arise which amplify and update this field through the collective construction of artistic experiences, mediation, debates, discussion platforms and documentation that bring publicity and cohesion to these otherwise unrelated and \'anonymous\' activities. Without necessarily abandoning its legacy and embracing exclusively the more radical alternatives, the museum can participate in the new networks that are forming and establish richer, more productive relationships, acting simultaneously as an emission and reception point where artists, institution and public actively participate, therefore dissolving the Enlightenement-based pedagogical role the museum still holds.

O museu de arte moderna e contemporânea é uma instituição que possui relações complexas com a arte, com o mercado da arte e, com os públicos. Suas origens remontam ao museu tradicional e, em linhas gerais, mantém suas atribuições básicas e pouco muda ao longo do tempo, mas passa a agregar novas e diferentes funções. Parte-se da hipótese de que, em face às novas manifestações culturais, às práticas das artes, aos hábitos culturais e às novas formas de organização - que se situam num outro registro, em coletivos, trabalhos colaborativos ou agrupamentos assemelhados - o museu necessita rever sua atuação se desejar participar ativamente do processo cultural contemporâneo. Para examinar o problema, partimos da análise do museu desde suas origens, verificando que ele surge na confluência de práticas tradicionais das coleções e gabinetes de curiosidades, e das ideias do Renascimento, que se adensam com o iluminismo buscando autonomia e o exercício da função pedagógica. Em seguida, analisamos o impacto que sofreu com as Exposições Universais e com o modernismo nas artes. Nesse longo percurso, buscamos identificar os diferentes tipos de ações de mediação que o museu realizou com os públicos, desde os catálogos e a expografia, até os seminários, debates e ações educativas. As novas funções que adquire no início do século XX e o processo de revitalização no final desse mesmo século transformam o museu numa das grandes atrações turísticas de nossos tempos. Na contemporaneidade, paralelamente ao museu, e fora dele, surgem propostas em rede de pedagogias coletivas que ampliam e atualizam este campo por meio da construção coletiva de experiências artísticas, de mediação, debates, plataformas de discussão e de documentação, que retiram tais atividades de um certo \'anonimato\' e dispersão, para se tornarem públicas. Sem abandonar tudo o que tem feito e sem, necessariamente, abraçar exclusivamente as práticas mais radicais, o museu pode participar das novas redes que estão se formando e estabelecer relações ricas e produtivas, funcionando simultaneamente como um ponto de emissão e de recepção na qual interagem artistas, instituições e públicos, onde todos são ativos. Dissolve-se, assim, o papel pedagógico nos moldes iluministas que possui o museu. / The museum of modern and contemporary art is an institution that has complex relationships with the art market, the public and the art itself. Its origins date back to the traditional museum and while keeping its basic characteristics with very little change over time it added some new and different functions. The hypothesis is: taking into consideration the contemporary form of cultural manifestations, art practices, cultural habits and organizations such as collectives and collective work, the museum needs to rethink itself if it wants to participate actively in the contemporary cultural process. To examine this problem we analyze the museum history, observing it has originated from the confluence of collections and curiosity cabinets traditional practices and the Renaissance ideas, further emphasized by the Enlightenment concepts, seeking autonomy and the exercise of a pedagogical function. Then we analyze the impact exerted on it by Universal Exhibitions and Modernism in arts. Through this long journey, we try to identify the different types of mediation actions the museum has developed with its audience, from catalogs and expography to seminars, debates and educational actions. The new functions it has acquired in the beginning of the twentieth century and the revitalization process experienced in the late twentieth century transformed the museum into one of the main tourist attractions of our times. In contemporary times, new interrelated, networked pedagogical propositions arise which amplify and update this field through the collective construction of artistic experiences, mediation, debates, discussion platforms and documentation that bring publicity and cohesion to these otherwise unrelated and \'anonymous\' activities. Without necessarily abandoning its legacy and embracing exclusively the more radical alternatives, the museum can participate in the new networks that are forming and establish richer, more productive relationships, acting simultaneously as an emission and reception point where artists, institution and public actively participate, therefore dissolving the Enlightenement-based pedagogical role the museum still holds.

La thèse s’intéresse aux expositions de design graphique, à la fois en tant qu’événements constitutifs de l’histoire de la discipline et en tant qu’espaces (scénographiques et discursifs) où se manifestent ses liens plus ou moins assumés avec la création artistique. Elle s’appuie sur un corpus de quatre cents expositions, organisées entre 1895 et 1995, au sein de trois institutions muséales : le Stedelijk Museum d’Amsterdam, fondé en 1895, le Museum of Modern Art (MoMA) de New York, créé en 1929 et le Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), né en 1993 de la fusion de deux départements du Centre Pompidou. L’étude des archives de ces manifestations met au jour ce que furent les choix de programmation des musées (quels objets, quelles époques, quels graphistes mettent-elles en avant ?) ; mais aussi les différents statuts qui sont conférés aux objets imprimés, par la scénographie ou par les discours qui les environnent. La thèse révèle, notamment, la préférence des musées d’art moderne pour l’affiche, pour le graphisme « d’utilité publique » et pour le travail des « graphistes-auteurs ». À ce graphisme « de musée » sont appliqués des cadres interprétatifs qui le rapproche de la création artistique : assimilation du graphiste à un artiste, omission des circonstances de la commande, description des styles, recherche des influences… Les expositions de « communications visuelles » organisées par le CCI offrent un singulier contrepoint à ce modèle, dans la mesure où elles consacrent moins les « œuvres » du graphisme qu’elles ne s’interrogent sur leur contexte social de production et d’utilisation. / This dissertation looks at graphic design exhibitions both as events that are part of the history of the discipline and as scenographic and academic forums for expressing, more or less consciously, its links with artistic creativity. It is based on the analysis of four hundred exhibitions, held between 1895 and 1995 at three modern art museums : the Stedelijk Museum in Amsterdam, founded in 1895, the MoMA in New York, inaugurated in 1929 and the Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), created in 1993 after the fusion of two separate departments of the Centre Pompidou. The archives of these exhibitions highlights both the choices of programming (what objects, eras and graphic designers do they ?), and the various status confered to printed objects by scenography and surrounding texts and discourses. The dissertation reveals the preference of modern art museums for posters, for graphic design for the public domain, and for the work of ‘graphic designers-cum-authors’. This specific graphic design elected by museums is envisionned according to interpretative frames that likens it to artistic creation through the rapprochement between graphic designers and artists, the omission of circumstances pertaining to commissions, descriptions of styles, search for influences, etc. The ‘visual communication’ exhibitions organised by the CCI provide a striking contrast to this model in so far as they concentrated less on the actual ‘works’ of graphic design than on the social context of their production and use.

Диссертация посвящена исследованию особенностей организации и функционирования современного корпоративного музея на примере проекта корпоративного музея ООО «Уральские локомотивы». В работе уточняется понятие, сущность, функции музея; определяется его место в системе корпоративной культуры; прослеживается историческая трансформация музейного дела в России; дается типология музейных институций в современной России, раскрывается опыт их работы и современные вызовы, а также анализируется международный опыт организации и функционирования интерактивных музеев. В третьей главе диссертации представлена разработанная концептуальная и содержательная составляющие проекта корпоративного музея ООО «Уральские локомотивы». / The dissertation is devoted to the study of the features of the organization and functioning of a modern corporate museum on the example of the Ural Locomotives LLC corporate museum project. The paper clarifies the concept, essence, and functions of the museum; determines its place in the system of corporate culture; traces the historical transformation of museum business in Russia; gives the typology of museum institutions in modern Russia, reveals the experience of their work and modern challenges, and analyzes the international experience of the organization and functioning of interactive museums. The third chapter of the dissertation presents the developed conceptual and substantive components of the project of the Ural Locomotives LLC corporate museum.

No description available.

This thesis was planned as a cross-case study of three docent-led museum tours, examined through the lens of liminality. The liminal, as identified by anthropologist Victor Turner, is an ambiguous and transitional state that is “betwixt and between” normative structures. When applied to the art museum, I argue that the liminal is a zone of negotiation that can assist in transformation and personal meaning making through a phenomenon of thought. This study centers on the following questions: How can liminal theory, as applied to museum education, illuminate the relationships between gallery teachers, visitors, and objects? And, in what ways does liminality allow for visitors’ personal meaning making to occur? These questions were answered through the planned observation of three docent-led museum tours at the Jack S. Blanton Museum of Art at The University of Texas at Austin. Video and audio recordings, as well as observational field notes, occurred in one museum gallery and focused on one artwork, Cildo Meireles’ Missão/Missões (How to Build Cathedrals). Data was collected from narrative transcripts of the aforementioned video and audio recordings, exit interviews with docents, observational field notes taken during each tour, and observations and notes made while analyzing the video and audio footage. Two of these three tours fit within the parameters set by the researcher and, therefore, one tour was eliminated from the research findings. Content analysis is utilized in this study. This type of data analysis placed information into three categories modeled after Arnold van Gennep’s rites de passage: separation, the liminal, and aggregation. Four subcategories were subsequently discovered during this analysis: observation, connection, realization, and transformation. Conclusions determined after the analysis of this data revealed fluidity between these stages. Additionally, liminal theory illuminated the relationships between visitors, objects, and museum educators in a way that stressed that the negotiation of the artwork, meaning making, and the process of transformation are part of a collaborative journey, and that the spaces “betwixt and between” are valuable for the advancement of museum education. / text

Esta pesquisa versa sobre as relações museu/escola. Identifica e confronta os discursos e as práticas educacionais dos profissionais envolvidos. Inserido em uma perspectiva qualitativa de pesquisa em educação, o estudo analisa as práticas presentes na visita de escolas ao Museu de Zoologia da Universidade de São Paulo. Considera-se que os educadores de museus são portadores de um conhecimento empírico e teórico que é, em grande medida, o responsável pela normatização das atividades educacionais da instituição onde estão inseridos. Outros fatores tais como a história da instituição, sua estrutura administrativa e o contexto social do qual faz parte também são relevantes para o entendimento do campo analisado. São esses aspectos os que vão determinar qual é o discurso dos profissionais de educação responsáveis pela ação educativa de um museu, frente às práticas pedagógicas por eles estabelecidas, passo necessário para compreensão do objeto de estudo. Por outro lado, considera-se também que os professores das escolas são portadores de uma concepção própria a respeito do museu. Qual é essa concepção? Quais são as expectativas destes profissionais que enfrentam inúmeras dificuldades para levarem seus alunos a uma instituição cuja linguagem e conteúdo não lhes são familiares? Suas expectativas são cumpridas durante a visitação? Entender esse universo passa pela observação das práticas desses profissionais quando em contato com a instituição museal. A fim de responder esses questionamentos, optou-se pela confrontação das expectativas desses profissionais (professores e educadores do Museu) com a sua prática em um momento determinado: a visita das escolas ao Museu. Essa escolha baseou-se na verificação de que a visita é o momento onde se efetivam/confrontam as intenções a respeito da prática pedagógica dentro de uma exposição de museu. A escolha do Museu de Zoologia da Universidade de São Paulo, e posterior pesquisa empírica nas suas dependências, trouxe à tona outros questionamentos, acerca do papel da educação dentro de uma instituição museológica, voltada historicamente a pesquisa em Zoologia. Para fundamentação das análises propostas foi utilizado o referencial oriundo das pesquisas de educação e pesquisas de público, feitas em museus. Em termos gerais, constatou-se que professores e educadores de Museu têm expectativas semelhantes a respeito do potencial pedagógico das exposições museais. Entretanto, as escolas continuam buscando os museus sem atentar para as especificidades educacionais desses espaços, fazendo com que a visita seja um acontecimento isolado na vida escolar dos estudantes. Por outro lado, o Museu de Zoologia, agrega uma série de fatores que contribuem para não otimização de sua relação com as instituições escolares. A constatação desses problemas aponta a necessidade de construção de uma parceria a ser realizada institucionalmente entre museus e escolas, ou seja, apoiada por todas as instâncias que as compõem, e não dependente apenas de alguns poucos profissionais interessados. / This research treats of the museum/school relation. Identifies and confronts the educational discourses and the practices of the involved professionals. Inserted on a qualitative view on education, this study analyses the present practices on school visits to the Museum of Zoology of University of São Paulo. It is considered that the museum\'s educators carry an empirical and theoretical knowledge, which is responsible for the normative conduction of the educational activities on the institution where they are involved. Other factors such as the institution\'s history, the administration\'s structure and the social context are relevant for the comprehension of the analysis field. Those are the aspects that are going to determine what is the discourse of the professionals of education who are responsible for educational actions of the museum, facing their pedagogical practises, necessary step to the comprehension of the object. On the other hand, it\'s as well considered that schools teachers have their own conception regarding the museum. What is this conception? What are the expectancies of those professionals, who confront innumerable difficulties to take their pupils to an institution whose language and contents are not familiar to them? Are their expectancies fulfilled during visitation? To understand the universe means to observe the practices of those professionals in contact with the museum institution. Aiming to answer those questions, the confrontation of the professional\'s expectancies (teachers and museum\'s educators) with their practices in a specific moment: the schools visitations to the Museum. This choice is based on the verification that the visit is the moment when the intentions, regarding to the pedagogical practice, are accomplished/confronted in a museum exposition. The choice for the University of São Paulo\'s Museum of Zoology, and posterior empirical research inside the museum, emerged other questions concerning the educational role inside the museological institution, historically dedicated to zoological researches. A referential originating in education researches and public researches, that took place in museums, was used to ground the proposed analysis. It was verified that teachers and museum\'s educators have similar expectancies regarding to the pedagogical potential of museums expositions. However, the schools still attending to museums without being alert to the educational particularities of these places, converting the visit on a isolated event to the school life of the student. On the other hand, the Museum of Zoology, aggregates factors, which contributes to the non-optimisation of its relation with school institutions. The evidencing of those problems indicates the need to enter an institutional partnership between museums and schools, supported by all the instances involved and not only few interested professionals.

O museu transformou seus espaços interiores para receber um público ativo a estímulos. Casas-museus ou museus-casas incluem a diversidade étnica e cultural, geram conhecimentos e nos transportam ao passado por caminhos históricos; preservam modos de viver, desafiando o visitante/ receptor. Essa tipologia de museu encerra-se em torno de sua coleção e de seus espaços. A arquitetura parte da atividade interior buscando os focos de luz natural e perspectivas do entorno. A partir da hipótese de que as casas-museus devem ser adaptadas e como essa adaptação acontece, o objetivo da pesquisa foi criar um panorama com as principais características observadas nessa tipologia de museu, analisando suas adaptações de casa para o uso casa-museu. Conhecer e interpretar sete instituições em São Paulo, ressaltando aspectos marcados pela passagem do espaço doméstico privado para o espaço museológico público, com auxílio dos projetos, tornou-se o ponto de partida. Na transformação da casa em museu, muitos fatores são articulados; a rotina da casa será diferente enquanto museu. Não é casa e não é museu. Existe o fluxo de visitantes que não é visita; adaptações devem ser pensadas. A museologia e a museografia são responsáveis pelo destino do que é relevante, por meio do curador e de suas escolhas. Ações particulares de preservação surgem. As adaptações do uso serão diferentes do uso da casa original. São desafios físicos (nos prédios) e interpretações do espaço. A coleção e a arquitetura devem permanecer, além do morador. Esses espaços tornam-se locais para a construção da cidadania como lugares de memória, de inquietação, e desempenham um papel social. Com isso, faz-se importante eleger o que deve ser lembrado e o que deve ser esquecido por meio de um programa de necessidades do museu. / The museum has transformed its interior spaces to receive an active audience for stimuli. Houses-museums or museum-houses include ethnic and cultural diversity, generate knowledge and transport us to the past by historical paths; preserving ways of living, challenging the visitor / receiver. This type of museum is enclosed around its collection and its spaces. The architecture is part of the interior activity seeking the outbreaks of natural light and perspectives of the environment. Based on the hypothesis that museum houses should be adapted and how this adaptation happens, the objective of the research was to create a panorama with the main characteristics observed in this typology of museum, analyzing their adaptations from home to home-museum use. Knowing and interpreting seven institutions in São Paulo, highlighting aspects marked by the passage of the private domestic space to the public museum space, with the help of the projects, became the starting point. In the transformation from house to museum, many factors are articulated; the house routine will be different as a museum. It is not house and it is not a museum. There is the flow of visitors who is not visiting; adaptations should be considered. Museology and museography are responsible for the fate of what is relevant, through the curator and his choices. Particular preservation actions arise. The adaptations of the use will be different from the use of the original house. These are physical challenges (in buildings) and interpretations of space. The collection and architecture must remain in addition to the resident. These spaces become places for the construction of citizenship as places of memory, of restlessness, and play a social role. With this, it is important to choose what should be remembered and what should be forgotten through a museum needs program.

Esta pesquisa versa sobre as relações museu/escola. Identifica e confronta os discursos e as práticas educacionais dos profissionais envolvidos. Inserido em uma perspectiva qualitativa de pesquisa em educação, o estudo analisa as práticas presentes na visita de escolas ao Museu de Zoologia da Universidade de São Paulo. Considera-se que os educadores de museus são portadores de um conhecimento empírico e teórico que é, em grande medida, o responsável pela normatização das atividades educacionais da instituição onde estão inseridos. Outros fatores tais como a história da instituição, sua estrutura administrativa e o contexto social do qual faz parte também são relevantes para o entendimento do campo analisado. São esses aspectos os que vão determinar qual é o discurso dos profissionais de educação responsáveis pela ação educativa de um museu, frente às práticas pedagógicas por eles estabelecidas, passo necessário para compreensão do objeto de estudo. Por outro lado, considera-se também que os professores das escolas são portadores de uma concepção própria a respeito do museu. Qual é essa concepção? Quais são as expectativas destes profissionais que enfrentam inúmeras dificuldades para levarem seus alunos a uma instituição cuja linguagem e conteúdo não lhes são familiares? Suas expectativas são cumpridas durante a visitação? Entender esse universo passa pela observação das práticas desses profissionais quando em contato com a instituição museal. A fim de responder esses questionamentos, optou-se pela confrontação das expectativas desses profissionais (professores e educadores do Museu) com a sua prática em um momento determinado: a visita das escolas ao Museu. Essa escolha baseou-se na verificação de que a visita é o momento onde se efetivam/confrontam as intenções a respeito da prática pedagógica dentro de uma exposição de museu. A escolha do Museu de Zoologia da Universidade de São Paulo, e posterior pesquisa empírica nas suas dependências, trouxe à tona outros questionamentos, acerca do papel da educação dentro de uma instituição museológica, voltada historicamente a pesquisa em Zoologia. Para fundamentação das análises propostas foi utilizado o referencial oriundo das pesquisas de educação e pesquisas de público, feitas em museus. Em termos gerais, constatou-se que professores e educadores de Museu têm expectativas semelhantes a respeito do potencial pedagógico das exposições museais. Entretanto, as escolas continuam buscando os museus sem atentar para as especificidades educacionais desses espaços, fazendo com que a visita seja um acontecimento isolado na vida escolar dos estudantes. Por outro lado, o Museu de Zoologia, agrega uma série de fatores que contribuem para não otimização de sua relação com as instituições escolares. A constatação desses problemas aponta a necessidade de construção de uma parceria a ser realizada institucionalmente entre museus e escolas, ou seja, apoiada por todas as instâncias que as compõem, e não dependente apenas de alguns poucos profissionais interessados. / This research treats of the museum/school relation. Identifies and confronts the educational discourses and the practices of the involved professionals. Inserted on a qualitative view on education, this study analyses the present practices on school visits to the Museum of Zoology of University of São Paulo. It is considered that the museum\'s educators carry an empirical and theoretical knowledge, which is responsible for the normative conduction of the educational activities on the institution where they are involved. Other factors such as the institution\'s history, the administration\'s structure and the social context are relevant for the comprehension of the analysis field. Those are the aspects that are going to determine what is the discourse of the professionals of education who are responsible for educational actions of the museum, facing their pedagogical practises, necessary step to the comprehension of the object. On the other hand, it\'s as well considered that schools teachers have their own conception regarding the museum. What is this conception? What are the expectancies of those professionals, who confront innumerable difficulties to take their pupils to an institution whose language and contents are not familiar to them? Are their expectancies fulfilled during visitation? To understand the universe means to observe the practices of those professionals in contact with the museum institution. Aiming to answer those questions, the confrontation of the professional\'s expectancies (teachers and museum\'s educators) with their practices in a specific moment: the schools visitations to the Museum. This choice is based on the verification that the visit is the moment when the intentions, regarding to the pedagogical practice, are accomplished/confronted in a museum exposition. The choice for the University of São Paulo\'s Museum of Zoology, and posterior empirical research inside the museum, emerged other questions concerning the educational role inside the museological institution, historically dedicated to zoological researches. A referential originating in education researches and public researches, that took place in museums, was used to ground the proposed analysis. It was verified that teachers and museum\'s educators have similar expectancies regarding to the pedagogical potential of museums expositions. However, the schools still attending to museums without being alert to the educational particularities of these places, converting the visit on a isolated event to the school life of the student. On the other hand, the Museum of Zoology, aggregates factors, which contributes to the non-optimisation of its relation with school institutions. The evidencing of those problems indicates the need to enter an institutional partnership between museums and schools, supported by all the instances involved and not only few interested professionals.