Affiliates of the United States settlement house movement provided a historical precedent for engaged, community-centered museum practice. Their innovations upon the social survey, a key sociological data collection and data visualization tool, as well as their efforts to interpret results via innovative, culturally democratic exhibition techniques, had a contemporary impact on both museum practice and the history of social work. This impact resonates in the socially-responsive work of community museums of the recent past. The ethics of settlement methodology- including flexibility, experimentalism, empathetic practice, local community focus, and social justice activism- foreshadow the precepts and practices of what is now known as public history. / History

The Philadelphia Public History Truck is a nearly two-year-old mobile museum project which creates interdisciplinary exhibitions about the history of Philadelphia neighborhoods with those who live, work, and play within the places and spaces of the city. Since I founded the project in 2013, I have navigated partnerships with both grassroots organizations and larger institutions and faced a wide-ranging gamut of experiences worthy of examination by public historians concerned with power and production of history as well as practice-based reflexivity. The first half of this thesis documents my key reflections of the first eighteen months of work and serves as a primary source on the project. This paper also places History Truck into a long historiography of both public history and mobility in the United States of America to explain the emergence of what I am calling the New Mobile History, an emerging form of practice in which community members and public historians work together from the onset of project development using ephemerality and movement as a tool for creativity and civic-driven history making. By analyzing oral history interviews with Cynthia Little and Michael Frisch, I argue firstly that Philadelphia was the birthplace of this New Mobile History. Secondly, I posit that for this New Mobile History to continue evolving, public historians must balance digital work and relationship-based process to create exhibitions which directly serve communities of memory. Lastly, I consider one possible future for History Truck, including its transformation from project to nonprofit organization manned by post-M.A. fellows who have the ability to work passionately on city streets and with new media. / History

Was geschieht im Museum hinter den Kulissen? Warum wird manches gesammelt, aber anderes nicht? Museen sind der sichere Ort für das Bewahren des gesellschaftlichen Gedächtnisses, aber auch der ganz persönlichen Erinnerung an vergangene Zeiten. Zahllose Objekte in den Ausstellungen und Magazinen können Auskunft über die Vergangenheit geben – oder etwa nicht? Das Stadtmuseum Wittenberge begab sich gemeinsam mit der Universität Würzburg und vielen weiteren Gedächtnisinstitutionen im Themenjahr „Schatz oder Schrott?“ auf eine spannende Spurensuche in eine selten beleuchtete Welt der Identitätsbildung zwischen Erinnerungsankern und Dachbodenplunder mit Entscheidungszwängen zwischen Schädlingsbefall und übervollen Depots. Lernen Sie die verborgene Seite unserer Museen kennen!:Susanne Müller-Bechtel, Marcel Steller Zum Geleit S. 7 Marcel Steller Ein Jahr in eigener Sache S. 14 Marcel Steller „Damit hätte ich nicht gerechnet!“ S. 22 Ein- und Ausblicke zur Sonderausstellung „Schatz oder Schrott?“ Anja Pöpplau Die ganze Welt im Depot? S. 36 Von einer Überlebenstechnik zur Identifikationsproblematik Carola Lembke Herausforderungen im Kommunalarchiv S. 46 Wie arbeitet das Stadtarchiv Wittenberge? Katharina-A. Zimmermann Wege ins Museumsdepot – vom vergessenen Ort zum Großprojekt S. 54 Wegemuseum Wusterhausen/Dosse Elena Büchel Präventive Konservierung S. 64 Wie erhält man eine Zeitung? Jana Hauguth Schädlinge im Depot und der Umgang mit ihnen S. 74 Andrea Wieloch (Ent-)Sammeln aus Verantwortung S. 84 Marcel Steller Zwischen Nähmaschinen und Nagetieren S. 89 Einblicke in das Sammeln des Stadtmuseums Wittenberge Irena Berjas Depotsituation im Modemuseum Meyenburg S. 99 Ein Kurzbericht Julia Zehnder Pompeii Premise und Diorama-Drama S. 102 Die Ausstellung früherer Lebenswelten zwischen historischer Wirklichkeit und bewusster Illusion Nadine Schneider Fräulein Kunigunde, der Elfenbeinturm und Omas Jägerschnitzel S. 111 Immaterielles Kulturerbe im Stadtmuseum Wittenberge Jens Czoßek und Friederike Koch-Heinrichs Kritisch Sammeln S. 125 Die geowissenschaftliche Sammlung am Museum der Westlausitz Kamenz Susanne Köstering Sammeln im Kontext S. 131 Digitale Sammlungsnetzwerke in Brandenburg Nicole Schuler Wie viele Nähmaschinen braucht das Stadtmuseum Wittenberge? S. 135 Über die Wertigkeit von Massenprodukten und die „Aura“ des Virtuellen Susanne Müller-Bechtel Objekte als Prisma der Stadtgeschichte – S. 147 zum Bündeln und Auffächern von Ansichten und Blickwinkeln Julia Paukert Eine Kaffeekanne – Schatz oder Schrott? S. 153 Ein Einblick in die Kompensationstheorie von Odo Marquard und Hermann Lübbe Malte Kirchhof Sammlungsgut als kollektive Erinnerungsanker S. 163 Andreas Wieland „Trauern, Erinnern, Weitergehen“ S. 172 Erinnerungskultur im Alltag Regina Reisinger Gesellschaftsorientierte Provenienzforschung als Utopie? S. 176 Ein soziomuseologischer Blick auf Provenienzforschung in Stadt- und Regionalmuseen am Beispiel des Stadtmuseums Wittenberge Lennart Gütschow (K)ein Museum ohne Sammlung? S. 184 Das Ludwig Erhard Zentrum in Fürth Susanne Lehmann Holt die Dinge aus den Schränken! S. 190 Unsere Autorinnen und Autoren S. 192 Glossar S. 195 Im Überblick S. 203 Das Themenjahr 2023 „Schatz oder Schrott?“ im Stadtmuseum Wittenberge Digitale Publikationen des Stadtmuseum Wittenberge S. 207 / What happens behind the scenes in the museum? Why are some items collected and other items are not? Museums are a safe place for the preservation of social memory as well as personal memories of times gone by. Countless objects in exhibitions and storage rooms can provide information about the past – or perhaps not? Together with the University of Würzburg and many other experts on preservation and cultural heritage, the Stadtmuseum Wittenberge has embarked on an exciting search for answers in the theme year “Treasure or Trash?”. Delve into the rarely explored realm of historical identity formation, sort out memory anchors and attic junk and navigate issues such as pest infestations and overflowing depots. Join us on a journey through the hidden side of our museums!:Susanne Müller-Bechtel, Marcel Steller Zum Geleit S. 7 Marcel Steller Ein Jahr in eigener Sache S. 14 Marcel Steller „Damit hätte ich nicht gerechnet!“ S. 22 Ein- und Ausblicke zur Sonderausstellung „Schatz oder Schrott?“ Anja Pöpplau Die ganze Welt im Depot? S. 36 Von einer Überlebenstechnik zur Identifikationsproblematik Carola Lembke Herausforderungen im Kommunalarchiv S. 46 Wie arbeitet das Stadtarchiv Wittenberge? Katharina-A. Zimmermann Wege ins Museumsdepot – vom vergessenen Ort zum Großprojekt S. 54 Wegemuseum Wusterhausen/Dosse Elena Büchel Präventive Konservierung S. 64 Wie erhält man eine Zeitung? Jana Hauguth Schädlinge im Depot und der Umgang mit ihnen S. 74 Andrea Wieloch (Ent-)Sammeln aus Verantwortung S. 84 Marcel Steller Zwischen Nähmaschinen und Nagetieren S. 89 Einblicke in das Sammeln des Stadtmuseums Wittenberge Irena Berjas Depotsituation im Modemuseum Meyenburg S. 99 Ein Kurzbericht Julia Zehnder Pompeii Premise und Diorama-Drama S. 102 Die Ausstellung früherer Lebenswelten zwischen historischer Wirklichkeit und bewusster Illusion Nadine Schneider Fräulein Kunigunde, der Elfenbeinturm und Omas Jägerschnitzel S. 111 Immaterielles Kulturerbe im Stadtmuseum Wittenberge Jens Czoßek und Friederike Koch-Heinrichs Kritisch Sammeln S. 125 Die geowissenschaftliche Sammlung am Museum der Westlausitz Kamenz Susanne Köstering Sammeln im Kontext S. 131 Digitale Sammlungsnetzwerke in Brandenburg Nicole Schuler Wie viele Nähmaschinen braucht das Stadtmuseum Wittenberge? S. 135 Über die Wertigkeit von Massenprodukten und die „Aura“ des Virtuellen Susanne Müller-Bechtel Objekte als Prisma der Stadtgeschichte – S. 147 zum Bündeln und Auffächern von Ansichten und Blickwinkeln Julia Paukert Eine Kaffeekanne – Schatz oder Schrott? S. 153 Ein Einblick in die Kompensationstheorie von Odo Marquard und Hermann Lübbe Malte Kirchhof Sammlungsgut als kollektive Erinnerungsanker S. 163 Andreas Wieland „Trauern, Erinnern, Weitergehen“ S. 172 Erinnerungskultur im Alltag Regina Reisinger Gesellschaftsorientierte Provenienzforschung als Utopie? S. 176 Ein soziomuseologischer Blick auf Provenienzforschung in Stadt- und Regionalmuseen am Beispiel des Stadtmuseums Wittenberge Lennart Gütschow (K)ein Museum ohne Sammlung? S. 184 Das Ludwig Erhard Zentrum in Fürth Susanne Lehmann Holt die Dinge aus den Schränken! S. 190 Unsere Autorinnen und Autoren S. 192 Glossar S. 195 Im Überblick S. 203 Das Themenjahr 2023 „Schatz oder Schrott?“ im Stadtmuseum Wittenberge Digitale Publikationen des Stadtmuseum Wittenberge S. 207

[EN] This thesis is about the Design of Interactive Multimedia Learning Environments for Museums. Having into account the rapid advance and adoption of the Internet, which turns it into the new industrial revolution, whose innovative system influence and transform all socio--¿cultural and communicative paradigms. It raises the need for reformulating the models across all human domains, and specially those studied in this thesis, education, communication, patrimony/heritage, manipulation and information access. During the research on its bibliography support, it has lead this research to the concept of Virtual Museums (MOCA, Don Archer and Bob Dodson, 1993) as a ground for exploration and experimentation. Adopting from revolutionary cognitive theories, some educational tools such as graphic information representation and storytelling, to enhance knowledge construction and meaningful learning in a ubiquitous computing world, where there are plenty of opportunities for innovation and creativity but also there are also threats for human isolation and alienation . Data navigation and construction is proposed to be developed using concept maps as a systematic approach and storytelling as a human learning epistemological approach. / [ES] Esta tesis doctoral trata sobre el Diseño de Ambientes Educativos Interactivos Multimedia aplicados a museos. Teniendo en cuenta el rápido avance y adopción de la Internet, que la convierte en la nueva revolución industrial, cuyo sistema innovador influye y transforma todos los paradigmas sociales, culturales y de comunicación, suscitando un replanteamiento de los modelos de las actividades humanas y en el caso particular de esta tesis, la educación, el patrimonio o herencias, el acceso y la manipulación de la información. Durante la investigación bibliográfica, hemos tomado el concepto de Museos Virtuales (MOCA, primer museo virtual creado por Don Archer y Bod Dodson en 1993), como un lugar de exploración y experimentación. De teorías cognitivas revolucionarias, se han adoptado herramientas educativas como la representación gráfica del conocimiento y la narración de historias, para mejorar las condiciones de construcción del conocimiento y el aprendizaje significativo, en un mundo de computación omnipresente, donde las oportunidades para la innovación y la creatividad se multiplican, pero a la vez, presenta riesgos de aislamiento y alienación Como una aproximación sistémica para la navegación y construcción de la información, se propone el uso de los mapas conceptuales y como aproximación epistemológica de la transmisión del conocimiento, se propone la narración de historias. Ambos se estructuran en un andamiaje conceptual del Diseño Industrial, como disciplina encargada de la cultura artificial, centrada en los usuarios. / [CA] Aquesta tesi doctoral tracta sobre el disseny d'ambients educatius, interactius, multimèdia, aplicats a museus. Tenint en compte el ràpid avanç i adopció d'Internet, que la converteix en la nova revolució industrial, el sistema innovador de la qual influeix i transforma tots els paradigmes socials, culturals i de comunicació, suscitant un re-plantejament dels models de les activitats humanes i en el cas particular d'aquesta tesi, l'educació, el patrimoni o herència, l'accés i la manipulació de la informació. Durant la recerca bibliogràfica, hem pres el concepte de Museus Virtuals (MOCA, primer museu virtual creat per Don ARCHER i Bob DODSON en 1993) com un lloc d'exploració i experimentació. De teories cognitives revolucionàries, s'han adoptat eines educatives com la representació gràfica del coneixement i la narració d'històries, per a millorar les condicions de construcció del coneixement i l'aprenentatge significatiu, en un món de computació omnipresent, on les oportunitats per a la innovació i la creativitat es multipliquen, però al mateix temps, presenta riscos d'aïllament i alienació. Com una aproximació sistèmica per a la navegació i construcció de la informació, es proposa l'ús dels mapes conceptuals i com una aproximació epistemològica de la transmissió del coneixement, es proposa la narració d'històries. Totes dos s'estructuren en una bastida conceptual del disseny industrial, com a disciplina encarregada de la cultura artificial, centrada en els usuaris. / Gómez García, JP. (2016). Diseño de ambientes educativos interactivos multimedia para museos [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62151

Cette recherche explore comment les Mayas ont été représentés au public au cours des XXe et XXIe siècles, à partir d’une analyse de cinquante-cinq catalogues d’exposition muséale. Elle met en évidence la diversité des discours, notamment à partir des années 1950, en classant ces catalogues selon cinq types de discours majeurs : esthétique, en continuité, romantique, colonial et scientifique. Pour ce faire, nous avons réalisé une base de données qui comporte les détails d’identification des objets tels qu’inscrits dans les cartels, les pays et les organisations collaboratrices responsables du montage de l’exposition, ainsi que l’utilisation médiatique des objets. Nous avons ensuite comparé les manières d’exposés les objets considérés comme significatifs pour représenter les Mayas. Cette approche enrichit notre compréhension de la recherche culturelle, particulièrement à travers les expositions temporaires, en éclairant le processus de diffusion muséologique, la création d’expositions et le désir des organisateurs à créer des représentations pour le public. / This research explores how museums represent Mayas cultures in the 20th and 21st centuries, based on the analysis of 55 museum exhibition catalogs. It highlights the diversity of discourses surrounding perspectives of Mayas peoples and objects, especially since the 1950s, classifying them into five major types of discourses : aesthetic, continuity, romantic, colonial, and scientific. To conduct this research, I created a database of catalogue inventory identifications, collaborating organizations, countries responsible for the exhibition, and the media used to present the objects, which enabled me to compare the display of objects considered representative of ancient Maya peoples. This approach enriches our understanding of cultural research, as seen in temporary museum exhibitions, thus shedding light on the museum diffusion process, exhibit creation, and the organizers’ desire to create representations for the public.

This diploma thesis deals with the phenomenon of regional museums in the second half of the 19th century and in the first half of the 20th century in the area of central-eastern Bohemia. The thesis is divided into three main chapters, first of which offers the overview of the establishment and development of the regional museums. The following one analyses the laws of association and statutes of the particular societies. The last chapter introduces the most important milestones in the history of four museum societies which are: Museum society of Chrudim, Museum of Hlinsko County, Archaeological society Vocel and Archaeological and museum society Včela Čáslavská. Based on the primary sources analysis and comparative method, the author of the thesis tried to focus on the common and different moments in the history and activities of the museum societies mentioned above. KEYWORDS Regional history, society's activity, museum societies, museum, museology, Archaeological and museum society Včela Čáslavská, Archaeological society Vocel, Museum society of Chrudim, Museum of Hlinsko County.

"...the writer undertook in this studyan evaluation of the seven major art museums of Texas and their contribution to public-school education. Chapter I served as an introduction to the study. Chapter II traced the development of the art museum in American, dating back to the period of colonial settlements in New England. It also presented the history of the art museums in the five key cities of Texas: the Elisabet Ney Museum of Austin, the Dallas Museum of Fine Arts, the Museum of Fine Arts of Houston, the Fort Worth Art Association, the Children's Museum of Forth Worth, the Witte Memorial Museum of San Antonio and the Contemporary Arts Association of Houston. In addition, the general policies and programs of the Texas museums were discussed. Chapter III evaluated the programs of the seven majoy art museums according to the standards set up by the Texas Art Education Association...Chapter IV will present the writer's conclusions and recommendations." -- leaves 35-36.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

Cette thèse s’intéresse à la médiation de l’architecture au musée et aux divers moyens employés pour communiquer le projet architectural en exposition. L’objectif est de mieux connaître la réception que font les visiteurs architectes et non-architectes des outils utilisés pour exposer les aspects variés du projet architectural. On s’entend pour dire que la communication du projet architectural par l’exposition n’est pas tâche facile. Des représentations diverses (dessins, maquettes, photographies, vidéos, etc.) sont utilisées pour exposer le bâti absent. Plusieurs des objets présentés sont complexes à interpréter, surtout pour un néophyte, notamment en raison des codes qu’ils contiennent. Une méthode souvent employée par les commissaires est la « mise en série » de divers types de représentations, chaque outil permettant d’accéder à des informations spécifiques sur le projet. Comme les objets présentés sont souvent difficiles d’accès et que leur présentation sous forme de série peut ajouter à la complexité, il apparaît important d’investiguer la manière dont les visiteurs font sens de ce type de dispositif. Cette recherche vise principalement à jeter les bases d’une connaissance empirique de la réception d’expositions d’architecture par les visiteurs. Six questions ont été retenues pour analyse : (1) Quels objets sont mobilisés par le visiteur? (2) Quels types d’opérations mentales sont faites en lien avec ces objets? (3) Quels sont les obstacles rencontrés, et que fait le visiteur suite à la rencontre d’un obstacle? (4) Quels aspects du projet architectural (matérialité, concept, contexte, etc.) retiennent l’attention du visiteur? (5) Comment le visiteur fait-il des liens entre les différents objets exposés sous forme de série? (6) Le profil professionnel des visiteurs (architectes vs non-architectes) a-t-il une influence sur la construction de sens? Le recueil de données auprès d’une trentaine de visiteurs s’est déroulé au Centre canadien d'architecture (CCA) de Montréal dans l’exposition « Perspectives de vie à Londres et à Tokyo imaginées par Stephen Taylor et Ryue Nishizawa ». Chaque participant visite l'exposition en compagnie de la chercheure avec qui il partage, au fur et à mesure de sa visite, ses pensées et émotions, selon la méthode des protocoles verbaux concomitants (aussi connue sous le nom de thinking aloud ou protocol analysis). L'ensemble des propos est enregistré pour permettre une retranscription exacte avant analyse. Plusieurs des résultats obtenus confirment des idées déjà avancées par les chercheurs telles la popularité des photographies, le peu d’intérêt de la part des non-architectes pour les plans, les aspects variés du projet mentionnés face aux objets exposés, ou encore l’établissement de liens entre les objets comme moyen d’identifier la série. D’autres résultats mettent plutôt en doute des affirmations retrouvées dans les écrits, mais encore jamais appuyées par des données empiriques. Par exemple, plusieurs commissaires considèrent que la maquette est un excellent outil pour communiquer l’architecture et qu’elle est appréciée de tous. Or, dans le cadre de la présente étude, la maquette est peu utilisée par les visiteurs. Le type de maquette et la manière dont elle est disposée dans l’espace peuvent ainsi rendre cet outil peu utile dans la construction de sens du visiteur. Plusieurs auteurs appréhendent des difficultés et des obstacles pour les visiteurs non-architectes. Les présents résultats confirment certaines difficultés des visiteurs néophytes, mais ils démontrent également que les architectes rencontrent eux aussi des obstacles variés / This thesis focusses on the mediation of architecture in the museum setting and on the different tools used to communicate the architectural project in the exhibition. The main goal of this research is to get a better knowledge and understanding of the reception of the different objects used to exhibit the many aspects of architectural projects by visitors (architects and non-architects). There is a general agreement on the fact that it is difficult to communicate architecture through the exhibition media. Many objects are typically used to exhibit the architectural project : drawings, models, photographs, videos and so forth. Some of these tools can be hard to understand, especially for a layperson, since they are coded objects. In order to better communicate the architectural project, curators often choose to depict it by presenting a series of objects, each tool conveying a different aspect of the building. This serial type of presentation can make the task even harder for some visitors. Since understanding an architectural project can be quite difficult for visitors, it appears important to investigate the meaning making of visitors of varying profiles. Six main questions were investigated in this thesis : (1) Which exhibition objects attracted the visitor’s attention? (2) What type of mental operations did the visitor do in relation to these objects? (3) Which obstacles did the visitor face, and what did he do when faced with such obstacles? (4) Which aspects of the architectural project (materiality, concept, context, etc.) attracted the visitor’s attention? (5) How did the visitor link the different objects presented in a serial manner? (6) Did the visitor’s professionnal profile (architect or non-architect) influence his meaning making? Data were collected among thirty visitors at the Canadian Centre for Architecture (CCA) in Montreal during the exhibition « Some Ideas on Living in London and Tokyo by Stephen Taylor and Ryue Nishizawa ». Each participant was asked to express, as freely as possible, what he thought, saw, felt and imagined during the course of his visit, as is prescribed by the thinking aloud method (also known as protocol analysis). The participant is accompanied by the researcher throughout his visit. Visitor’s verbalisations are recorded, then typed and encoded for analysis. Many of the results obtained in this research confirm ideas that were presented in previous texts by scholars : the popularity of photographs ; the little interest for plans by non-architects ; the various aspects of the architectural project mentionned in relation to the objects exhibited ; the links established between objects as a means to identify the serial presentation. Other results, though, challenge some ideas frequently presented by authors, but never validated by empirical data. For instance, many curators consider a model to be a very popular and easily understood tool used to communicate architecture. In the present research, the model is not used very much by visitors. Therefore, the type of model and the way to exhibit it might make this tool more or less useful for meaning making by visitors. Many authors believe that non architects encounter difficulties and obstacles during their visit. The results obtained in this thesis show that, as expected, non architects do face obstacles, but they also reveal that architects themselves face many obstacles and challenges in their meaning making while visiting the architecture exhibition

O presente trabalho de mestrado propôs identificar as narrativas que se estabeleceram no projeto que buscou modernizar o Museu Nacional da Colômbia, na administração de Emma Araújo de Vallejo entre 1975 e 1982, a partir da confluência de três campos, a História Cultural, a História da Educação e a Museologia. Pode-se estabelecer que a proposta abrangeu dois aspectos: a reorganização administrativa do museu e a readequação das salas de exposição, que incluiu uma intervenção arquitetônica ao edifício. Metodologicamente o trabalho vincula-se ao conceito de Morales Moreno de interferência museográfica e ao referido por Zita Possamai e Marília Xavier Cury sobre o processo de musealização, para o tratamento dos documentos textuais: manuscritos, registros das comissões estruturadas (de Arquitetura, de História e da Arte), contratos, estudos arquitetônicos, propostas e relatórios, como para os de caráter mais visual: catálogos, fotografias, planos, desenhos, entre outros, entendendo que a narrativa histórica de um museu é por sua natureza diferente à encontrada no documento escrito. As discussões teóricas são determinadas em dois âmbitos, o que se refere a entender o museu como lugar da memória e as suas implicações; e o refletir sobre o que faz que um museu seja nacional. Para isto, autores como Myrian Sepúlveda dos Santos, Regina Abreu, Luis Gerardo Morales Moreno, Beatriz González, Ana Claudia Fonseca Brefe, Camilo de Mello Vasconcelos e Cecília Oliveira contribuem para a discussão, entendendo o museu como um lugar de reelaboração da memória e as narrativas como representações, o que converte este espaço em local de disputas. O trabalho salienta que o objetivo central deste projeto é duplo: tornar o museu um grande livro de história e fazer uma atualização face as novas correntes da Museologia. Deste modo, o Museu Nacional alcançava a qualificação constante do pessoal, a diversificação de serviços para o público, a criação do Departamento Educativo e uma gestão consciente das suas coleções. Sobre a exposição de longa duração é observado que o segundo andar, que corresponde às salas de história, não rompe a periodização tradicional e, além disso, se salienta a origem da nação nas figuras de Bolívar e Santander como pessoas eminentes da Independência. No terceiro andar, nas salas de belas artes, não só se encontram os artistas que tradicionalmente eram expostos, mas também foi incluída a vanguarda conformada pelos “novos”. As influências que o museu recebe são de Ulrich Löber, no período assessor internacional, de Pierre Francastel e Marta Traba, por intermédio da diretora, e da Colcultura e da ACOM, os quais instauraram os debates sobre museus na Colômbia. Conclui-se que a consciência do poder que possui o museu para incluir e excluir, através das suas narrativas, poderia ser o grande ensino desta administração, em um momento onde todos pedem o seu espaço de representação. / This master´s thesis proposes to identify the narratives that were established in the project that tried to modernize the National Museum of Colombia, under Emma Araújo's management between 1975 and 1982, from three fields, the Cultural History, the History of the Education and the Museology. It was possible to define that the offer contained two aspects: the administrative reorganization of the museum and the re adequacy of the exhibition, which included an architectural intervention to the building. Methodologically, adheres to the proposed for Morales about the concept of “interferencia museográfica” and which was said by Possamai and Cury about of the “procesos de musealización”, for the treatment so much for the textual documents: scripts, the acts of the commissions (of Architecture, History and Art), contracts, architectural studies, offers and reports, since of the visual ones: catalogues, photography’s, planes, drawings, among others, understanding that the historical own narrative of a museum is for his nature different from the contained one in the written document. The theoretical discussions are given in two areas: the museum as place of memory and his implications, and the reflections about what does that a museum a national one. For this, authors like Maria Sepúlveda dos Santos, Regina Abreu, Luis Morales, Beatriz Gonzalez, Ana Maria Brefe, Camilo de Mello Vasconcelos, and Cecilia Olivieira open the discussion understanding the museum as a place of reproduction of the memory and considerate the narratives as representations, which turns this space place of disputes. The work highlights that the central aim of this project was double: the museum turns a great book of history, and putting to the currents ideas about museology. From this, the National Museum achieves a constant training of the staff, the diversification of services for the public, the creation of the Educational Department, and a conscious management of collections. As for the exhibition is observed that the second floor, which they correspond to the rooms of history, does not break with the habitual periodization, and highlights the origin of the nation in the figures of Bolivar and Santander as leaders of the Independence. In the third floor, the rooms of arts, they show not only the artists who traditionally had been there, but they included the vanguard of the new ones. The influences that this new museum receives are from Ulrich Löber, as international adviser, of Pierre Francastel and Marta Traba, across his director, and of Colcultura and ACOM, who implant the debates on museums in Colombia. It concludes that the conscience of the power that possesses the museum to include and to exclude across his narratives might be the great education of this administration, in a moment where they all ask for his space of representation. / Este trabajo de maestría se propone identificar las narrativas que se establecieron en el proyecto que pretendió modernizar el Museo Nacional de Colombia, bajo la gestión de Emma Araújo de Vallejo entre 1975 y 1982, desde tres campos, la Historia Cultural, la Historia de la Educación y la Museología. Se pudo definir que la propuesta contuvo dos aspectos: la reorganización administrativa del museo y la readecuación del montaje, que incluyó una intervención arquitectónica al edificio. Metodológicamente se adhiere a lo propuesto por Morales sobre la interferencia museográfica y lo dicho por Possamai y Cury sobre los procesos de musealización, para el tratamiento tanto de los documentos textuales: guiones, las actas de las comisiones conformadas (de Arquitectura, de Historia y de Arte), contratos, estudios arquitectónicos, propuestas e informes, como de los visuales: catálogos, fotografías, planos, dibujos, entre otros, entendiendo que la narrativa histórica propia de un museo es por su naturaleza diferente a la contenida en el documento escrito. Las discusiones teóricas se dan en dos ámbitos, el que se refiere al entender al museo como lugar de memoria y sus implicaciones, y el de pensar qué hace que un museo sea nacional. Para esto, autores como María Sepúlveda dos Santos, Regina Abreu, Luis Morales, Beatriz González, Ana Maria Brefe, Camilo de Mello Vasconcelos, y Cecilia Olivieira abren la discusión entendiendo el museo como un lugar de reelaboración de la memoria y entendiendo las narrativas como representaciones, lo cual convierte este espacio en lugar de disputas. El trabajo resalta que el objetivo central de este proyecto fue doble: volver el museo un gran libro de historia, y el de ponerlo al corriente de las actuales corrientes de la museología. De esta forma, el Museo Nacional logra una constante capacitación del personal, la diversificación de servicios para el público, la creación del Departamento Educativo, y una consciente gestión de colecciones. En cuanto al montaje de la exposición de larga duración, se observa que el segundo piso, que corresponden a las salas de historia, no rompe con la periodización habitual, y resalta el origen de la nación en las figuras de Bolívar y Santander como próceres de la Independencia. En el tercer piso, las salas de bellas artes, se reúnen no sólo a los artistas que tradicionalmente habían estado ahí, sino que incluyeron a la vanguardia conformada por los nuevos. Las influencias que recibe este nuevo museo vienen dadas por Ulrich Löber, como asesor internacional, de Pierre Francastel y Marta Traba, a través de su directora, y de Colcultura y ACOM, quienes implantan los debates sobre museos en Colombia. Se concluye que la conciencia del poder que posee el museo para incluir y excluir a través de sus narrativas podría ser la gran enseñanza de esta administración, en un momento donde todos piden su espacio de representación.