This research investigated how constructivist approaches are conceptualized and implemented in “gallery tour and studio workshop” programs at three art museums, and the relationship that exists between the gallery and studio learning. To address these questions, I examined how administrators from each museum designed programs and supported educators, how educators facilitated teaching, and how students responded to the gallery and studio learning. I employed a basic qualitative multi-case study. This method suited my research—an investigation of three cases (three iterations of a program at each museum)—because I aimed to understand the uniqueness of each case while examining a range of similar and contrasting cases. Data collection methods included observations of program sessions, interviews with museum administrators and museum educators, casual conversations with participating students, photos of students’ artworks, and museum documents. The cases offer examples of educators’ teaching approaches, which reflect—or do not reflect—constructivist tenets, as well as factors that influence the connection—or lack of connection—across gallery and studio learning. Specifically, the findings indicate that a smaller students-educator ratio and knowing students’ information in advance helped ensure a conducive learning environment. Another relevant factor was the educators’ facilitation of dialogue. Students became more involved in interpreting artworks when educators were most responsive to their ideas, and less involved when educators asked leading or less open-ended questions. Program themes, reflections on the tour prior to the studio session, and motivating questions for studio activities helped ensure connections between gallery and studio. Additionally, exploratory studio activities and small group discussions in the studio helped students make unique choices within their art projects, whereas step-by-step demonstrations led to prescriptive artworks. Further, students’ responses reflected the sequencing of the program: ways of discussing artworks travelled from the galleries to the studio, and student artworks referenced visual elements from artworks displayed in the galleries. While the findings of this research are not generalizable, they provide insight into methods and approaches that might be adopted by museum administrators, museum educators, and art educators who aim to provide school students meaningful and well-connected museum “gallery tour and studio workshop” educational programs.

This thesis investigates the material culture of early modern England as reflected in the object collections of the Shakespeare Birthplace Trust in Stratford-upon-Avon. The collection consists of nearly 300 objects and six buildings dating from the period 1500-1650 representing 'the life, work and times of William Shakespeare', with a particular emphasis on domestic and community life in Shakespeare's Stratford. Using approaches from museum studies and material culture studies together with historical research, this thesis demonstrates how objects add depth and complexity to historical and museological narratives, and presents a range of unique and never before examined material sources for the study of the social and cultural history of the period. For different reasons, collectors, scholars and museum practitioners have all tended to place the Trust's objects within existing historical narratives whilst neglecting the physical evidence of the objects themselves. By closely examining the object as well as the cultural context of its manufacture and use, this study seeks to rejuvenate the way this and similar collections are seen and used in studies of the early modem period.

Cette étude se concentre sur la construction de musées en Turquie sous le parti de la Justice et Développement (AKP). Celle-ci se développe à partir d'un ensemble d'études existantes qui prouvent un changement dans la politique culturelle du AKP qui, guidé par la devise Yeni Türkiye (Nouvelle Turquie) vise à créer une différence entre un avant et un après AKP. La nouvelle Turquie s'appuie sur une nouvelle idéologie nationale : le Nationalisme Musulman Turc (White 2009), qui met l'accent sur l'héritage ottoman, turc et islamique de la Turquie plutôt que sur d'autres patrimoines culturels également importants tels que le grec, le romain, le byzantin et le plus récent passé de la Turquie républicaine tourné vers l'ouest. En fonctionnant comme des vitrines qui représentent l'idéologie nationale du parti au pouvoir, les nouveaux musées parrainés par l'État reflètent le rêve de l'AKP: une nouvelle Turquie, technologique, capitaliste tout en restant nationaliste et islamiste. J'ai ainsi examiné trois de ces nouveaux musées et j'ai étudié les liens entre l'État, qui sous la direction de l'AKP favorise cette idéologie nationale, et les musées qui exposent un récit national musulman turc. En développant un cadre théorique sociologique-politique original basé sur la Théorie des champs de Pierre Bourdieu, je cadre les musées dans des champs dominés par les relations de pouvoir. Je soutiens que le champ du musée est inextricablement lié à d'autres champs tels que le champ de la production culturelle, de l'économie, de l'éducation ainsi que le champ politique. De plus, comme dans tous les autres champs, le champ du musée existe dans le champ national. Je dirais que les musées et les personnes travaillant dans / pour les musées font parties intégrantes des États-nations qui les gouvernent à travers les pouvoirs législatif, judiciaire et exécutif. Ils les financent, réglementent leurs fonctions et appliquent ces règlements. En s'appuyant sur la littérature récente et moins récente, sur le musée (Crooke 2016 et 2007; Newmann et Mclean 2006; Macdonald 2003; Fyfe 2011), j'ai tenté de fournir d'autres preuves que l'analyse du nationalisme (l'idéologie qui caractérise notre monde des États-nations) au sein du musée, révèle des aspects clés du musée. Les musées et les États qui embrassent le nationalisme semblent être strictement liés, de sorte que tous les musées sont soumis au symbolisme national, et des changements dans un champ, comme celui du politique par exemple, peut se répercuter sur le domaine du musée. Le nationalisme sous sa forme variée, incarné par les agents sociaux, objectivé dans les objets du musée ayant une signification nationale, ou institutionnalisé dans les bâtiments de musées à symboles nationaux, semblait être la puissance qui absorbe entièrement le musée. Sur la base de mes données, je proposerai une conclusion hétérodoxe selon laquelle tous les musées sont des musées nationaux. Je ne veux pas insinuer que tous les musées racontent et enseignent l'histoire nationale, mais que tous les musées fonctionnent comme des symboles de l'État-nation et certains créent même des symboles nationaux sous la forme de récits nationaux, de mythes, de héros, de discours des grands hommes, de drapeaux et de l'histoire nationale. En se concentrant sur les musées récemment construits en Turquie, j'expliquerai les récits nationaux au sein des musées en termes de ressources et d'approvisionnement, où le musée fonctionne comme une ressource et une multitude de discours nationaux toujours positifs, d'identité nationale et d'histoire nationale fabriqués par la classe dirigeante turque (ou "champ de pouvoir" selon Bourdieu) pour les Turcs. Par conséquent, le musée est considéré ici comme un engrenage d'un système d'identité, alors que le nationalisme, en particulier le Nationalisme Musulman Turc, est l'idéologie (ou logique doxique comme Bourdieu l'appelle) derrière cela. / This study focuses on recently build museums in Turkey under the rule of the Justice and Development Party (AKP). It develops from a body of existing studies providing evidence about a change in cultural policy carried out by the AKP that, guided by the motto Yeni Türkiye (New Turkey) aims to set a divide between pre-AKP and post-AKP era. The Yeni Türkiye builds on a new national ideology, Turkish Muslim nationalism, which emphasizes the Ottoman, Turkish, and Islamic heritage of Turkey rather than other likewise important heritages, such as the Greek, Roman, Byzantine, and the more recent, Western-oriented past of the Republic. By functioning as performative cabinets exhibiting the national ideology of the ruling party, new state-sponsored museums mirror the AKP’s dream of a new Turkey: technological, capitalist, and yet nationalist and Islamist. I looked into three of these new museums and investigated the links between the state which ruled by the AKP advertises this national ideology and museums exhibiting Turkish Muslim national narrative. By developing an original sociological-political theoretical framework based on Bourdieu’s theory of field, I frame museums in fields of changing power relations. I argue that the museum field is inextricably linked to other fields such as the field of cultural production, the field of economy, the field of education, and the political field. In addition, as with any other field, the museum field also exists within the broader national field. I will argue that museums, and people working in/for museums, exist as integrated into nation-states through the legislative, judicial, and executive powers that rule them, fund them, regulate their functions and enforce said regulations. By drawing upon the works of museum studies scholars (Crooke 2016 and 2007; Newmann and Mclean 2006; Macdonald 2003; Fyfe 2011), I attempted to provide further evidence that the analysis of nationalism (as the ideology that characterizes our world of nation-states) within the museum reveals key aspects of the museum’s significance. Museums and states embracing nationalism seem to be strictly connected, so much so that all museums are subject to national symbolism, and changes in one field, e.g. in the political field, carry potential changes in the museum field. . Nationalism in its variety of forms, embodied in state (and non-state) social agents, objectified in museum artefacts which were given national significance, or institutionalized in museum buildings with national symbols, was the force which absorbed the museum. On the basis of my data, I will suggest the rather heterodox conclusion that all museums are national museums. Not in the sense that all museums display national history but in the sense that, as I will point out, all museums function as symbols of the nation-state and some even create national symbols in the form of national narratives, myths, heroes, discourses of the big men, flags and national history. By focusing on recently built museums in Turkey, I will explain national narratives within museums in terms of resources and supply, where the museum functions as a resource and host of ever-positive national discourses, national identity, and national history manufactured by and within the Turkish ruling class (or field of power in Bourdieu’s terminology) to be supplied to the masses. Hence, the museum is seen here as a gear of a system of identity-making, whereas nationalism, particularly Turkish Muslim nationalism is the ideology (or doxic logic as Bourdieu called it) behind it.

Thesis. 1977. M.Arch.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography : leaf 23. / M.Arch.

This dissertation is a history of David Eugene Smith's collection of historical books, manuscripts, portraits, and instruments related to mathematics. The study analyzes surviving documents, images, objects, college announcements and catalogs, and secondary sources related to Smith's collection. David Eugene Smith (1860 - 1944) travelled the world in search of rare and interesting pieces of mathematics history. He enjoyed sharing these experiences and objects with his family, friends, colleagues, and students. Smith's collection had a remarkable journey itself. It was once part of the Educational Museum of Teachers College. This museum existed from 1899 - 1914 and was quite popular among educators and students. Smith was director of the museum beginning in 1909, although, he had a major influence on the museum from the moment he began his professorship at Teachers College in 1901. After the Educational Museum of Teachers College disbanded, the collection was exhibited in numerous venues. George A. Plimpton (1855 - 1936) created the Permanent Educational Exhibit that housed both modern educational items, as well as, historical pieces for display. Since Smith and Plimpton were great friends and fellow collectors, Smith's collection was included in the historical section of Plimpton's establishment. Unfortunately, due to the hard times of the world at this moment, the Permanent Educational Exhibit closed in 1917. Smith continued to exhibit his collection of mathematical artifacts through the Museums of the Peaceful Arts, founded by George F. Kunz (1856 - 1932), the New York Museum of Science and Industry, Teachers College, and Columbia University. Smith's research, teaching, and publications were directly influenced by his collection. Throughout most of his published works are images and photographs of items in his collection. He also believed in the importance of having primary sources included in mathematics education. This view he followed in his own teaching, which included research in his collection. David Eugene Smith's collection could never be replicated and thus is quite unique and valuable. Smith donated his collection to Columbia University's Libraries in the 1930s. Various exhibits of his collection have occurred since then, the most recent concluded in 2003. The history of Smith's mathematical collection is important to the history of mathematics education as it displays the importance of preserving mathematical books, manuscripts, portraits, and instruments for future generations to research.

This dissertation offers the first comprehensive and critical study of Germanic art and design exhibitions of the late Wilhelmine Period in America, analyzing how they served as newfound modes of cultural diplomacy in the United States. It centers on the preparation, execution, and reception of large-scale displays mounted at the Louisiana Purchase Exposition (1904), Harvard Germanic Museum (1903), Metropolitan Museum of Art (1909), and Newark Museum (1912-1914); and draws primarily from unpublished archival materials and original sources. While these were by no means the only methods of German transatlantic artistic exchange during this period, they offer exceptional breadth and variety in terms of curatorial aims, financial support, tactics of display and critical reception. Although varied, each show manifests the confidence that exhibitions can accomplish diplomatic goals. Some were patronized by the Kaiser himself. Others were mounted exclusively outside the aegis of the imperial crown. Each acting as a discrete embodiment of German national identity--intentionally or unintentionally--these exhibitions, I argue, were distinct and critical motivating factors in the American reception of German culture at large. Mounted at a time when Germany experienced increased international criticism for its colonial endeavors and foreign policy in general, the shows in this study shed light on the central role played by German émigrés and their efforts to bridge two national identities. Simultaneously, the United States was also entering the international stage as a modern nation-state and economic powerhouse, and other world powers looked to make inroads and forge new alliances across the ocean. Moreover, this project offers a new model for research into art and diplomacy more generally, as previously-unsearched archival collections serve as my most compelling and important source material. Locating German-American artistic exchange at the heart of fin-de-siècle transatlantic crosscurrents, my dissertation reveals the significant place of Germanic art in the American imaginary before the outbreak of the First World War.

This thesis investigates the professional practice of the National Portrait Gallery's first Director Sir George Scharf (1820–95). It is the first focused analysis of his career and influence, within the nineteenth-century art and museum worlds. It attempts to position Scharf in relation to developments in art historical scholarship and the professionalization of museum practice, in the second half of the 1800s. Chapter 1 outlines Scharf's methodology for portraiture research and considers his scientific approach alongside the establishment of art history as a discipline during his lifetime. Whilst exploring Scharf's development of research standards to be carried forward by successors, it argues for his active role amongst a growing contingent of museum professionals. Chapter 2 reconstructs Scharf's social and professional networks, collating the names of individuals with whom he interacted and mapping the physical sites of engagement. It proposes that access to contacts proved vitally important to his official work and that Scharf himself functioned as an influential figure in this sphere. The third chapter concerns the nature of Scharf's relationships with members of the NPG's Board of Trustees. It investigates his early collaboration with two expert Trustees and charts his interactions with consecutive Chairmen of the Board, demonstrating Scharf's increasing authority with regards to Gallery procedures. Chapters 4 and 5 explore Scharf's interventions relative to the organization and interpretation of the collection across the NPG's early exhibition spaces. Chapter 4 argues that an increased capacity for display enabled Scharf to implement a rational hanging scheme, in line with the Gallery's instructive purpose and inspired by contemporary debates over the efficient presentation of public art. The final chapter documents Scharf's efforts to contextualize the national portraits, ranging from manipulating the exhibition environment, to expanding the NPG's catalogue according to a scholarly model. In its examination of George Scharf's career spanning five decades, particularly his engagement with discourse surrounding public art museums in the Victorian period, this thesis aims to make a significant contribution to the fields of museum studies and studies in the history of collecting and display.

No description available.

Orientador: Edgar Teodoro Cunha / Banca: Marta Denise da Rosa Jardim / Banca: Claudete de Sousa Nogueira / Resumo: A presente pesquisa teve por objetivo investigar a representação de memórias e identidades culturais que o Museu Histórico e Pedagógico 'Voluntários da Pátria' de Araraquara expõe, em específico, como a coleção de Arte Popular, representada pelas obras de Mestre Dito e Mestre Jorge, se insere nesse contexto. Partimos do pressuposto de uma marginalização dessas memórias dentro da instituição pelo espaço que ocupam e, compreendendo o museu enquanto um local de conflito, de memória, esquecimento e ausência, nesse sentido, buscamos na historiografia da cidade, na história do negro em Araraquara, na história de constituição da instituição e na atual exposição presente no museu, compreender como esse processo, posto aqui como histórico, se reproduz no museu. Utilizamos do aporte teórico que se propõe a compreender a história, a memória e o tempo, relacionando tais conceitos ao de museu, com o intuito de compreender e definir qual o tipo de museu histórico em análise, qual a tradição que segue, e qual a relação entre sua expografia e a historiografia sobre a cidade de Araraquara. / Abstract: The present research had as objective investigate the representation of memories and cultural identities that the Museu Histórico e Pedagógico "Voluntários da Pátria" of Araraquara exposes, specifically, how the collection of Popular Art, represented by the works of Mestre Dito and Mestre Jorge, is inserted in this context. We start from the assumption of a marginalization of these memories within the institution by the space they occupy and, understanding the museum as a place of conflict, of memory, forgetfulness and absence, in this sense, we look for in the historiography of the city, in the history of the black people in Araraquara, history of the constitution of the institution and the present exhibition in the museum, to understand how this process, put here as historical, reproduces itself in the museum. We use the theoretical contribution that proposes to understand history, memory and time, relating these concepts to the museum, in order to understand and define the type of historical museum under analysis, which tradition follows, and which relation between its expography and the historiography on the city of Araraquara. / Mestre

Chan, Yee On Christine. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 109-115). / Abstracts in English and Chinese. / Chapter CHAPTER 1 --- INTRODUCTION --- p.1 / Literature Review --- p.4 / Changing role of today's museums and tourism --- p.4 / Tourists as potential museum visitors --- p.7 / Discussion --- p.13 / Methodologies --- p.15 / In-depth interview --- p.15 / Observation --- p.17 / Analyses of guide books and promotional materials --- p.18 / Comparative analysis --- p.19 / Chapter CHAPTER 2 --- TWO CITIES: HONG KONG AND MACAU --- p.20 / Historical and Economic Development of Hong Kong and Macau --- p.20 / Historical background of Hong Kong --- p.20 / Historical background of Macau --- p.22 / Economic structure of Hong Kong --- p.24 / Economic structure of Macau --- p.25 / Cultural heritage and museums in Hong Kong and Macau --- p.26 / Discussion --- p.28 / Destination Image and History Museums --- p.29 / Image of Hong Kong --- p.29 / Image of Macau --- p.31 / Discussion --- p.33 / Construction of Image --- p.34 / Governing bodies of the two museums --- p.40 / Management of the two museums --- p.43 / Summary --- p.46 / Chapter CHAPTER 3 --- THE HONG KONG MUSEUM OF HISTORY AND THE MUSEUM OF MACAU --- p.47 / The Hong Kong Museum of History --- p.47 / Location and mission of the Hong Kong Museum of History --- p.48 / Content and facilities of the Hong Kong Museum of History --- p.49 / From the perspective of tourists --- p.56 / The Museum of Macau --- p.59 / Location and mission of the Museum of Macau --- p.59 / Content and facilities of the Museum of Macau --- p.60 / From the perspective of tourists --- p.65 / Summary --- p.67 / Chapter CHAPTER 4 --- TOURISTS' CULTURAL BACKGROUNDS AND EXPECTATIONS TOWARDS THE HISTORY MUSEUM --- p.70 / Tourists' Cultural Backgrounds --- p.70 / "Tourists from ""Western"" countries" --- p.71 / Tourists from the Chinese mainland and other countries --- p.74 / Tourists' backgrounds and their expectation towards the museums --- p.76 / "Tourism, Curiosity and Museum Visiting" --- p.78 / Educational Level of Visitors and Educational Function of Museums --- p.79 / Summary --- p.84 / Chapter CHAPTER 5 --- INTEGRATION AND COMPARISON: HISTORY MUSEUMS ARE NOT AN ISOLATED ENTITY --- p.87 / Conceptual and Geographical Affiliation between History Museum and the City --- p.87 / Image affiliation --- p.88 / Geographical affiliation --- p.89 / Summary --- p.90 / Reflections from Tourists --- p.92 / The Multi-Functions of History Museums --- p.94 / Tourism and the economic function --- p.94 / Tourism and its educational function --- p.96 / Summary --- p.100 / Chapter CHAPTER 6 --- CONCLUSION --- p.101 / BIBLIOGRAPHY --- p.109 / APPENDIX 1 PHOTO --- p.116