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.

This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum.

This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum.

The subject of this thesis is the history of the library at The Göteborg Museum of Art. The aim of the thesis is to depict and analyze the emergence and the expansion of the library’s holdings until 1939. To fulfill the aim, two questions are asked. The first question is: Is it possible to argue that the library’s holdings were collected to document the entire world of art? The question is formulated in relation to a comment by Susan Wyngaard. According to Wyngaard, art libraries tries to document the entire world of art. The second question is: What was the point of having a library at The Göteborg Museum of Art and did the library’s holdings support the museum’s educating, aesthetic or ritual function? The question is inspired by some remarks in Carol Duncan’s book Civilizing rituals: Inside public art museums.The source material which is examined to answer the two questions consists mainly of the annual reports that the museum curator Axel Romdahl published in Göteborgs museum’s yearbook and also of two library ledgers found in The Göteborg Museum of Art. The results of the thesis are based on my observations and interpretations of the data in the annual reports and in the library ledgers. Michael Baxandall’s remark that historical objects can be explained by being treated as solutions to problems in situtations has assisted the analysis of the source material. Three conclusions are drawn in the thesis. The first conclusion is drawn in relation to Michael Baxandall’s remark that historical objects can be explained by being treated as solutions to problems in situations. The conclusion is that the visual documents that were collected in the library helped to expand the opportunities to see art at The Göteborg Museum of Art. The textual documents that were collected in the library helped solving another problem, which dealt with gathering written knowledge of art. The second conclusion is that a few specialized areas were particularly prominent during certain periods of time. In the 1910’s and in the 1920’s, the library’s holdings were focused on reproductions of graphic art and drawings made by artists from the european continent. During a few years in the beginning of the 1930’s, a large number of monographs on Swedish artists were aquired. The conclusion shows that it is not completely safe to argue that art libraries tries to document the entire world of art. The third conclusion is that the library at The Göteborg Museum of Art supported the museum’s educating function, and that the library at least had the potential to support the museum’s aesthetic and ritual function. This is a two years master’s thesis in Library and Information Science.

19th century dime museums were a North American phenomenon that flourished in urban centres from the mid- to late-1800s. Named thusly due to their low admission cost, dime museums provided democratic entertainment that was promoted to all classes as affordable and respectable. The resulting facilities were crammed with art, artifacts, rarities, living human curiosities, theatre performances, menageries, and technological marvels. The exhibition Dr. Soanes’ Odditorium of Wonders strives to recapture the spirit and aesthetic of the dime museum to invoke wonder in the viewer and to combine art, artifacts, and oddities to provoke questions about the boundary between education and amusement. Both the academic and curatorial texts utilize a mix of methodological approaches appropriate to museology, art history and cultural history: theoretical research into historiographical issues concerning theories of display and spectacle; archival research and discourse analysis of historical documents, and material culture analysis (including the semiotics of display). / iv, 60 leaves : ill. ; 29 cm

This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum.

Thesis (Ph.D.) -- University of Canberra, 2002. / Typescript (photocopy). "February 2002". Includes bibliographical references: (leaves 225-256).

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

Please read the abstract in the section 07summary of this document / Thesis (DPhil (Cultural History))--University of Pretoria, 2007. / Historical and Heritage Studies / unrestricted

Ce travail propose une lecture de la transgression au musée : elle se présente comme un prisme au travers duquel observer l’architecture des normes qui y régissent la conception et l’appréhension des savoirs. Le cas du musée de musique, étudié au travers d’une enquête menée dans deux musées différents (le musée de la Musique à Paris et le Grassi Museum für Musikinstrumente à Leipzig, Allemagne), éclaire la complexité des processus qui sous-tendent la construction de ces normes, et les problèmes qu’ils soulèvent. Les entretiens réalisés auprès de visiteurs ont en effet attiré l’attention sur le paradoxe de la muséalisation d’objets dont la fonction première est de produire de la musique. La première partie de ma thèse s’attache à démêler les diverses épistèmês sur lesquelles le musée d’instruments de musique repose. J’y montre les conceptions des savoirs musicaux autour desquelles les musées d’instruments se sont structurés et qu’ils ont façonnées en retour. Les réactions des visiteurs (parfois transgressives) face à la présentation des savoirs musicaux au musée attirent également l’attention sur les normes qui définissent la place de leurs savoirs dans la conception du musée comme institution. La deuxième partie s’articule ainsi autour d’une analyse de la subsomption de la singularité des visiteurs sous la catégorie de « public de musée » au tournant du 20e siècle. La troisième partie s’intéresse aux normes sensorielles imposées par le dispositif muséal. J’y analyse la conception du sensorium sur laquelle le musée se fonde pour transmettre des savoirs à son public, et y expose la façon dont les transgressions des visiteurs éclairent les limites de cette conception. / This research proposes an interpretation of transgression in the museum: it is understood as a prism through which to look at the architecture of the norms that govern the conceptual structure and apprehension of knowledge. The case of the music museum, observed through fieldwork in two different museums (the musée de la Musique in Paris and the Grassi Museum für Musikinstrumente in Leipzig, Germany), highlights the complexity of the steps undertaken to achieve this architecture and the problems they raise. The interviews held with visitors have indeed drawn attention to the paradox of musealizing objects which are primarily meant to produce music. The first part of my thesis intends to disentangle the multiple epistemes on which the museum of musical instruments is built. I point to the conceptions of musical knowledge around which instrument museums are organized and which they in turn, have helped to shape. The reactions of the visitors (some of them transgressive) when faced with the display of musical knowledge in the museum, also draws attention to the norms which delimit their status, and that of their own knowledge in the organization of the museum as an institution. The second part of the thesis is therefore structured around an analysis of the subsomption of the diversity of the museum visitors under the heading "museum audience" at the turn of the 20th Century. The third part focuses on the sensorial norms imposed by the museum apparatus. I analyze the conception of the sensorium on which the museum relies in order to transmit knowledge to its public and I show how the transgressions of visitors to the music museum shed light on the limits of this conception.