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Syftet med uppsatsen är att diskutera begrepp och termer inom virtuella utställningar, studera berättandet i virtuella utställningar och undersöka hur användare/besökare uppfattar och upplever berättandet i desamma. För att ta reda på hur besökare uppfattar och upplever berättandet i en virtuell utställning har vi utfört ostrukturerade observationer med sex personer, där varje person har fått besöka tre utställningar. Det empiriska materialet har sedan analyserats och tolkats med hjälp av teorier kring berättande och Michael Murtaugh’s narrativa verktyg. Berättandet i virtuella utställningar är utformat som i de reella med den skillnaden att det i en virtuell värld inte finns några fysiska begränsningar. I en virtuell utställning kastas besökaren direkt in i utställningen och vägen mellan början och slut får i större utsträckning skapas av besökaren själv. Berättelsen får i de virtuella utställningarna en underordnad betydelse till förmån för upplevelsen av att befinna sig i en virtuell värld, men om mediets kapacitet utnyttjas så att en ytterligare dimension kan läggas till, kan också berättandet fördjupas.

Rumslig dramaturgi är ett examensarbete inom informationsdesign och inriktningen rumslig gestaltning.   I dag finns enligt kulturplaner utsatta regionala mål för kultur och även lagstadgade tillgänglighetskriterier vilka genom demokratin är en värdegrund som regional museiverksamhet behöver möta. Det informationsdesignproblem som förekommer är att sträva mot att uppnå dessa mål och lagar, och samtidigt ta människans processer för informationsinhämtning och tolkning i beaktande. Om denna kunskap inte finns, eller bortses från, riskeras både tillgänglighetskraven och de regionala målen. Därför är syftet med detta arbete att undersöka på vilket sätt berättartekniska metoder och dramaturgi kan användas till informations- och budskapsförmedling som stödjer den kognitiva tillgängligheten inom utställningssammanhang. Arbetet grundar sig i teorier som kognition, perception, berättelser och dramaturgi samt utförda kvalitativa undersökningsmetoder. Resultat av dessa redovisas, och används slutligen som utgångspunkt i ett förslag där en modell för rumslig dramaturgi exemplifieras i utställningen Historiska ögonblick på Sörmlands museum beläget i Nyköping, Södermanlands län.   Nyckelord: Informationsdesign, rumslig gestaltning, utställningar, kognition, tillgänglighet, dramaturgi. / Rumslig dramaturgi is a thesis in information design, with a focus on spatial design.   Today, according to governing regional documents, there are cultural goals and statutory accessibility criteria, which through democracy are a value base that regional museum operations need to face. The information design is to work towards these goals and laws, while considering the human processes for collecting information and rendering. If this knowledge does not exist or is disregarded, both the accessibility requirements and the regional goals are at risk. Therefore, the purpose of this work is to investigate how narrative techniques and dramaturgy can be used for information and message mediation that supports the cognitive accessibility within exhibition contexts.   The work is based on theories such as cognition, perception, narratives and dramaturgy, as well as performed qualitative research methods. The results of these are outlined, and furthermore used as a starting point to a proposal where a model for spatial dramaturgy is exemplified in the exhibition Historiska ögonblick at Sörmlands Museum located in Nyköping, Södermanlands County.   Keywords: Information design, spatial design, exhibitions, cognition, accessibility, dramaturgy

<p>The purpose with this thesis is to study how the arranging of archaeological objects in permanent exhibitions has changed over time. To find out about this I have been analysing three museums with prehistorical permanent exhibitions. The exhibition at Statens Historiska museum was produced in 2005, Nationalmuseum in Köpenhamn was produced in 1972 with additions from 1988 and 1995 and, finally, Malmö Museer exhibition which was produced in 1977. These exhibitions have been compared to analyse developments during the last 30 years. The result shows that there are different ideals within the exhibitions. Over time, these ideals have been focused more on the visitors and they have tried to appeal to the visitors through themes where the objects have been placed into a narrative. However there are many styles of exhibiting prevalent today that go back all the way to the beginning of the 20th century.</p> / <p>Uppsatsens syfte är att ta reda på hur sättet att ställa ut arkeologiska föremål i basutställningar har förändrats över tid. Detta har jag undersökt genom tre utställningsbesök på Statens Historisk museum som hade en forntidsutställning som var producerad 2005, Nationalmuseum i Köpenhamn vars utställning var från 1972 med tillägg 1988 och 1995 samt Malmö Museer utställning från 1977. Dessa utställningar har sedan jämförts för att se vad som har hänt under de senaste 30 åren. Resultatet blev att det finns olika ideal inom utställningarna. Över tid har idealen blivet mer publikvänliga och har försökt tilltala publiken i större utsträckning genom teman där föremålen sätts in i en berättelse. Dock finns det mycket gestaltningsmässiga grepp som lever kvar sedan början av 1900-talet.</p>

The purpose with this thesis is to study how the arranging of archaeological objects in permanent exhibitions has changed over time. To find out about this I have been analysing three museums with prehistorical permanent exhibitions. The exhibition at Statens Historiska museum was produced in 2005, Nationalmuseum in Köpenhamn was produced in 1972 with additions from 1988 and 1995 and, finally, Malmö Museer exhibition which was produced in 1977. These exhibitions have been compared to analyse developments during the last 30 years. The result shows that there are different ideals within the exhibitions. Over time, these ideals have been focused more on the visitors and they have tried to appeal to the visitors through themes where the objects have been placed into a narrative. However there are many styles of exhibiting prevalent today that go back all the way to the beginning of the 20th century. / Uppsatsens syfte är att ta reda på hur sättet att ställa ut arkeologiska föremål i basutställningar har förändrats över tid. Detta har jag undersökt genom tre utställningsbesök på Statens Historisk museum som hade en forntidsutställning som var producerad 2005, Nationalmuseum i Köpenhamn vars utställning var från 1972 med tillägg 1988 och 1995 samt Malmö Museer utställning från 1977. Dessa utställningar har sedan jämförts för att se vad som har hänt under de senaste 30 åren. Resultatet blev att det finns olika ideal inom utställningarna. Över tid har idealen blivet mer publikvänliga och har försökt tilltala publiken i större utsträckning genom teman där föremålen sätts in i en berättelse. Dock finns det mycket gestaltningsmässiga grepp som lever kvar sedan början av 1900-talet.

The survey aims to problematize masculinity in the exhibitions of the museum.  In what way is masculinity interpreted and valued in exhibitions? What is the attitude towards masculinity in gender oriented museological texts? This study investigates in which way masculinity is written about – how interpretations of masculinity emerge in the texts and what consequences this may have. The survey is based on the method of discourse analysis and the material is processed from a gender perspective. The source material consists of museological texts dealing with the topic of gender and museology, which also is the core material. A complement to this is a selection of exhibition catalogs from museums as well as reviews which are also based on art exhibitions. The main point of the source material consists of the museological texts. The survey highlights that the gender-conscious museological discourse understands, interpret and evaluate masculinity on a more or less given regulatory framework. The classification of this framework means that masculinity is understood in terms of power or unmanliness as a norm and representation. The result is a definition that is reproduced and transmitted via testimony, texts. This contributes to a perception of masculinity which is formulated in evaluative attitudes – about masculinity itself seen as a problem. The discursive framework which the gender-conscious texts consists of constructs the perception of masculinity, and are not merely observations about masculinity as reflections of reality. The discursive classification presumes what there is to know, or what can be found in the study and interpretation of masculinity, men or masculinity. The gender conscious museological discourse affects how truths and statements are constructed, developed and reproduced. The attitude towards masculinity – the perception of masculinity – in the gender-conscious museological discourse as it manifests itself in these texts, is that masculinity in practice doesn’t need to be problematized.

Museo de la Memoria y los Derechos Humanos (MMDH) in Santiago, Chile is dedicated to the depiction of a difficult heritage. This museum of memory and human rights narrates the military dictatorship in Chile 1973–1990, a time when thousands of people were subjected to unthinkable human rights violations committed by the Government Junta of Chile. Memorial museums exist worldwide and aim to depict a specific historical event when people have been victimized by the state. By showcasing the crimes committed by the junta, MMDH seeks to contribute to the culture of human rights to prevent human rights violations from reoccurring in the future; a culture of Nunca Más (Never Again). In this thesis, the permanent exhibitions of MMDH have been studied through the lenses of representation and discourse theory. The purpose has been to understand the way in which the museum depicts the dictatorship and whether the goal of contributing to a human rights culture was visible in the material that is presented in the exhibitions. The results show that MMDH depicts a story using different themes primarily relating to the crimes committed by the Chilean state and the civilian population’s fight for human rights. In the exhibitions, several themes evoke emotions and can generate a real impact on the visitors. However, the museum presents its material without analysis or interpretation and it disclaims placing the dictatorship in a historical and political context, which can inhibit the educational purpose of the museum. In addition, since the exhibitions lack educational material on human rights and democracy, the categorization of being a museum of human rights with the goal of contributing to a culture of human rights, is insufficient. In the discourse of the exhibitions present at MMDH there is an apparent inclusion and exclusion of narratives which can be explained by the museum’s political link in a country that to this day is undergoing a process of dealing with its past. This is a two-year master’s thesis in Museum and Cultural Heritage Studies.

This thesis presents a study on how four Swedish university libraries use exhibitions as a tool for science communication. I describe the methodology of the exhibitions, how they differ between libraries, and how working with the exhibitions is experienced by the librarians and researchers involved. A smaller part of the study describes how the exhibitions have been made visible online and in social media. All the exhibitions have used a modified version of the five-step model created by Forskarnas Galleri at Malmö University. The exhibitions use a mix of media and tools to present the research. The exhibition experience has happened both synchronously and diachronously, i.e., the visitor has taken part of the knowledge both by visiting the exhibition and by taking part of the literature presented afterwards. Except for during the vernissage, the visitors have experienced the knowledge transfer through indirect mediation, as neither librarians nor researches have been present as permanent guides at the exhibition site during its tenure. Both librarians and researchers agree in their view that the universities see the exhibitions as something positive and worthwhile, and both groups see them as something positive for them personally. The librarians were more unanimously positive to using a more image-based language, while the researchers varied in their responses. Some were more apprehensive and worried that their research message would be altered if it was simplified. Both librarians and researchers expressed that they would have liked to do more with the exhibitions, for instance using them as backdrop for lectures or doing tours. There was a consensus between both groups that it was very hard to assess how many people had visited the exhibition, and what the visitor's view of the exhibitions were. The exhibitions were all visible online and in social media to some extent, but the results varied greatly with some exhibitions being very visible while others barely showed up. Overall, the bibliographic footprint of the exhibition was small, with no traces in an altmetric analysis and only half of the exhibitions being published as 'artistic output' in an open archive. This is a two years master’s thesis in Library and Information Science.

Purpose – This thesis investigates why archaeological museums tend to have a separate section for erotic and/or sexual objects. The aim is to understand why these rooms are needed and if they are considered outdated in the year 2020. Three case studies will be discussed in this thesis: Museo Archeologico Nazionale di Napoli, Altes Museum, and Museo Arqueológico Rafael Larco Herrera. Analysis – The qualitative data collected through interviews will be analyzed and presented in case studies. I apply two theories: power theory according to Michel Foucault and Clive Grey and queer theory. Method – To answer my questions, I interview museum workers responsible for the erotic display from the three case studies. All museums have a separate exhibition regarding erotic objects, so-called "secret museums". Methods that have been in use is qualitative method together with phenomenology. Findings – The findings show that the phenomenon “secret museum” was born in the mid-1700s when Pompeii and Herculaneum were excavated and several objects with erotic motives were found. Today several archaeological museums exhibit these objects in separate rooms, sometimes with restrictions. When these exhibitions were first formed only educated men were allowed to enter. It was considered that the objects would be misunderstood by the lower class and even hurt the relationship between men and women if women were to be exposed to pornography. The results from the three case studies show that people are still sensitive to objects regarding erotica or sexualities and that the separate area is for the visitors to choose if they want to enter or not. The result also shows that there is a respect for the history around this phenomenon and the rooms are in themselves museology history that needs to be preserved.  Paper type – Two years master's thesis in Museum and Cultural Heritage studies.

Emotions are sometimes thought of as human universals, biological facts shared by everyone due to the place of emotions as a function of evolution. A competing theory of emotion has been developed in the field of the history of emotions, where emotions instead are thought of as less unstable historically variable categories. The field of history of emotions has contributed to a heightened interest in emotions in general, including in the places of emotions within museums and museum discourse. Emotions are not only thought of as instrumental in the service of a museum’s pedagogical or political goal but are also subjects of exhibitions in their own right. A first principle for the following work has been that museum exhibitions are discursive acts with narrative form. In this masters thesis, I have wanted to examine the ways in which museums exhibit emotions and their histories and to what extent exhibited emotion require certain curatorial considerations to function as meaningful narratives within the context of the history of emotions. Throughout, theoretical approaches are borrowed from the study of literature and from cultural studies to work toward this goal. Two case studies are carried out in which I consider the poetics of exhibition and the role this poetic plays for the interpretation of the two narratives as wholes. An exhibition about the role of the ultras type of football supporters in the uprisings of the Arab Spring was found to centrally place emotions as catalysts for ultras’ political action. The style of narrative was found to be contributing to the sharp division between implicit audience and the culture depicted that ultimately, it was argued, gave this exhibition a place within the discourse of Orientalism. The second case study was of an exhibition about the history of love, and analysis revealed a confusion of two theoretically competing meta-narratives of love within the narrative. A universal and ahistorical metanarrative of emotion was found to work against the foundation of the exhibition as historical narrative. From these two case studies, I draw the conclusion that curators wishing to exhibit emotions must carefully consider the structure of their narratives, both because of the role of emotion in self-understanding and because of the demands on a historical narrative of emotion. This is a two-year master’s thesis in Museum and Cultural Heritage Studies.