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1
Levell, N. "Museum acts : the performative culture of the Museum of Anthropology at UBC." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/19494/.
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Within museological studies, the changing relations between anthropology museums and their differentiated publics, which intensified in the second half of the twentieth century, are typically apprehended through material cultures, through objects, collections and exhibitions. From a different perspective, this thesis argues that the shifting politics and relations–engaging anthropology museums, source communities and the broader sphere of cultural production–are equally, if not more, pronounced in performance culture. Such collaborative frictions are concentrated, enacted and iterated in ‘museum acts,’ which frame and centre human actors, rather than objects. Based on a critical and diachronic ethnography of the Museum of Anthropology at the University of British Columbia (UBC) (1976–2008), this analysis focuses on a diverse range of museum acts covering: artists’ residencies, exhibition openings, unveilings, cultural performances, memorial services and symposia. It demonstrates that, despite their ephemerality, such acts or intangible representational practices are crucial indices and constituents of museum space, discourses and histories. Central to this argument is the theory of performative acts, which is drawn from the disciplinary folds of linguistics and philosophy. Like their linguistic counterparts, it is argued, museum acts are intersubjective media that possess a dual agency; an illocutionary force that enables them concurrently to signify and constitute social ‘realities.’ Or to be more specific, as the case studies illustrate: through their intersubjectivity and “performative parallax” (Hastrup 1995, 97–8), museum acts operate to index and iterate relations and identities; to enact and validate artefacts and memories; to mediate and assert or alternatively contest and reclaim cultural knowledge and knowledge of culture. In this way, museum acts are central to the production of the anthropology museum as highly textured and sedimented, hybridized and indigenized, political and contested monumental space.
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Hernandez, Michael David. "THE DEVELOPMENT OF AN AFRICAN AMERICAN MUSEUM: ANTHROPOLOGY AND MUSEUM PRACTICES AT WORK." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/523.
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This work focuses on the use of anthropological and museum theory, methods and practices in the development and construction of a museum. It also illustrates how museums can be used as active research sites for anthropologists. This dissertation uses the Hotel Metropolitan Museum, a new African American museum in Paducah, Kentucky, as an example to demonstrate this research process. I approach this work as a museum professional and academic making a living outside the safety of the "Ivory Tower." I examine how the use of anthropological theories, case studies and methods can be used to help independent consultants understand interpersonal interaction/communication, community development and political structure. Also, I examine how these theories and methods can be applied and/or modified to construct situations that result in outcomes beneficial to the consultant and to the group for which s/he is working.
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Vider, Jaanika. "Marginal anthropology? : rethinking Maria Czaplicka and the development of British anthropology from a material history perspective." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:1e8a95a0-b3a8-4886-9e28-7a5fb4d111e3.
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This thesis explores the history of British anthropology at the start of the twentieth century through a biographical focus on Maria Antonina Czaplicka (1884-1921). The title calls into question the marginalisation of people and processes in the history of anthropology that do not explicitly contribute to the dominant lineage of British social anthropology and offers to add depth and nuance to the narrative through analysis stemming from material sources. I use Czaplicka as a case study to demonstrate how close attention to a seemingly marginal person with an incomplete and scattered archival record, can help formulate a clearer picture of what anthropology was and what it can thus become. My research contributes to the understanding and appreciation of women's involvement in anthropology, calls into question national borders of the discipline at this point in time, highlights the networks that nurtured it, and demonstrates the potential that museum collections have for an enriched understanding of the history of anthropology. I propose that history of anthropology is better understood through a planar approach that allows multiple parallel developments to exist together rather than envisaging a linear evolution towards a single definition of social anthropology. The project lays the groundwork for further research into the role that museums can have for understanding anthropological legacy and the possibilities they may have in creating fresh understandings of the contemporary world.
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Harrison, Julia D. "An institution in transition : an ethnography of the Bernice Pauahi Bishop Museum." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356961.
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Schultz, Elaine Ruth. "A partnership of peoples : understanding collaboration at the Museum of Anthropology." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1432.
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The goals of museum collaboration are several, as are its intended beneficiaries. Assuming the success of the practice, local communities can gain the opportunity for self-representation and self-determination, museums can contribute to the creation and dissemination of new kinds of knowledge, and visitors can take home better understandings of cultural difference.
While these are the ideals of collaboration, they frequently go unrealized, in large part because, as research indicates, the visiting public fails to recognize the active involvement of communities at museums. This raises the question as to whether, in the absence of this audience awareness, museum collaboration can fully contribute to the realization of the tolerant society that it purports to support. The purpose of this research is to examine the role of museum visitors in achieving the goals of museum collaboration, as well as to consider why this public has difficulty recognizing community involvement at museums and how this may be remedied.
“A Partnership of Peoples” is an extensive renewal project underway at the Museum of Anthropology (MOA) at the University of British Columbia (UBC), designed to facilitate collaborative research at the museum. It also serves as a case study for my consideration of the relationship between museums and the visiting public as a part of the collaborative process. By speaking with both MOA staff and visitors, I gained insight into the intended goals of the renewal project with respect to the museum’s relationship with communities and the general public, as well as visitor understandings of collaboration.
With this fieldwork, in addition to a literature review, I found that the significance of collaboration rests in the personal interactions that occur between individuals. As the majority of visitors do not benefit from these interactions during their time at the museum, they are at a disadvantage when it comes to recognizing the engagement of others in the creation of displays or the facilitation of research. The task for museums, then, is to make contemporary peoples visible and audible, connecting objects to communities and increasing opportunities for visitors to experience these personal meanings.
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Andrews, Thomas D. ""There will be many stories" : museum anthropology, collaboration, and the Tlicho." Thesis, University of Dundee, 2011. https://discovery.dundee.ac.uk/en/studentTheses/8d38a067-0689-4c5f-8723-46bd048739dc.
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Museum anthropology, which can involve any or all of anthropology’s subfields, is largely a performative, interdisciplinary enterprise using collaborative methods while engaged with knowledgeable and skilled members of the community, and involves creating new narratives about things of interest to the partners and wider public. This study interlinks applied anthropology, ethnography, ethnohistory, Indigenous archaeology, art, museums as places of interaction, and cultural revitalization, through the description of creative collaborative projects undertaken in partnership with Tli?cho? and other Dene elders, artists, and other skilled practitioners between 1990 and 2011 by staff of the Prince of Wales Northern Heritage Centre, Yellowknife, Northwest Territories, Canada. Exploring themes in the ontology and materiality of objects, relationships between humans and animals, links between technology and cosmology, the epistemology and ontology of Dene conceptions and experiences of the environment and ways of knowing, the composition of new landscapes through art, and the epistemological role of stories in the transmission of knowledge, the study demonstrates that these creative practices are performative and allow collaborators to engage in new ways of knowing, while building trust and respect between participants.
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Naujokaitis, Alina. ""Inside outer space exhibitions" : a museum intern's view of multi-sited exhibit performativity in Smithsonian Institution space culture /." Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/.pdf.
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Selvey, Hannah Rachel. "Cranial Responses to Captivity in Lemur catta and Propithecus verreauxi in Natural History Museum Collections." Thesis, University of Colorado at Boulder, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10809391.
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Captive animals demonstrate a number of differences compared to their wild counterparts, with the suite of some of the most common, and arguably deleterious, referred to collectively as domestication syndrome. Scholars have proposed a number of different variables and mechanisms for the changes, with captive diet being one of the prominent explanations. This thesis explores the effects of captivity on the skulls and mandibles of Malagasy lemurs (predominantly ring-tailed lemurs Lemur catta) using relative linear measurements and selected ratios, gathered from natural history museum collections. I predicted that captive and wild individuals would show differences in cranial measurements related to mastication, which would be driven by their different diets and the exploitation of the kily fruit Tamarindus indica (H1 A). I also predicted that wild individuals would show more overall variation due to consumption of broader, less consistent diets (H1B). Finally, I predicted that a multivariate model would be able to properly predict captivity status in Lemur catta using linear variables. Captive Lemur catta showed significantly (p = 0.0126) shorter relative post-palatal lengths than their wild counterparts, supporting H1A, and significantly (p = 0.0374) smaller variance in the inio-orbital (post-facial) region, supporting H1B. However, captive individuals showed significantly (p = 0.0390) greater variance in anterior flexion of the angular process, which refuted H1B. A step-wise discriminant function model was able to properly predict captivity status in a sample of n = 18 Lemur catta using four linear variables (R2 = 0.9336). Descriptive statistics across sex and other lemur species revealed differences that should be noted by scholars, specifically significantly (p = 0.0250) longer alveo-orbital AO (pre-facial) regions in male Lemur catta. The findings of this thesis, including its critique of physical and intellectual conservation of data, should be taken into account by museum professionals, animal husbandry personnel, and morphologists alike, and all measurements and findings shall be published on open access servers.
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Munyaradzi, Mawere. "The effects and socio-economic contribution of Batonga Community Museum in Zimbabwe : an ethnographic field study." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20601.
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Zimbabwean history is rooted in ethnic and cultural identities, inequalities, and injustices which the post-colonial government has sought to address since its national independence in 1980. Marginalisation of some ethnic groups has been one of the persistent problems in post-colonial Zimbabwe. Of particular significance to this thesis has been the marginalisation of the BaTonga people of north-western Zimbabwe. The marginalisation of the BaTonga people is historical with its roots traceable from the colonial era through the early years of national independence. Post-colonial Zimbabwe's emphasis on cultural identity and confirmation has, however, prompted the establishment of community museums such as the BaTonga Community Museum (BCM), to promote cultures of the local people. The establishment of cultural heritage sites such as the BCM has, however, impacted on the lives of the local people in various ways. This study critically examines the effects and socio-economic contribution of the BCM to the local communities, which ranges from generation of revenue to education training, environmental conservation and creation of employment in several sectors of the economy. On examining this topic, I draw extensively on the work of Kopytoff, who wrote about biographies of things. In his work, Kopytoff argues that all things, including cultural objects relate in a way that allows the analysis of relationships between persons and things as a process of social transformation that involves a series of changes in status. As Kopytoff (1986) insists, cultural biographical approach is culturally informed given that things are culturally constructed and reconstructed in much the same way people are culturally (re-)constructed through time. I draw on the work of Kopytoff in a critically sympathetic manner to delve into the effects and socio-economic contribution of the BCM to the local communities. I, nevertheless, bring to the fore the argument that although Kopytoff does not explicitly argue that things have life, his cultural biographical approach implies this and that by tracing a biography of a thing we recognise its agency as 7 well. It is through the careful analysis of agency of these things that I examine the effects and socio-economic contribution of the BCM to communities surrounding the site.
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Morris, Traci Lynn 1965. "Interpreting our own: Native peoples redefining museum education." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278608.
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For my Master of Arts in American Indian Studies at the University of Arizona I have done a comparative analysis of the Docent program's at the Arizona State Museum and the National Museum of the American Indian. A docent program or guided tour program, is part of educational programing at each museum. In order to fully understand and appreciate objects in a museum, especially those in exhibits dealing with Native Americans, requires interpretation. The guided tour is one of the most popular interpretive techniques. In this particular study, I focus on the use of storytelling as an interpretive technique. This study was done in an educational setting through informal observation of the docents, personal interviews and discussion with the docents and Educational Coordinators at each museum, examination of educational training, examination of Native American education techniques, and investigation of storytelling and its relationship to museums and Native peoples.
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Grobler, Elda. "Collections management practices at the Transvaal Museum,1913-1964 Anthropological, Archaeological and Historical /." Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-05112006-101101.
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Lange, Britta. "Echt. Unecht. Lebensecht : Menschenbilder im Umlauf." Berlin Kulturverl. Kadmos, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2638200&prov=M&dokv̲ar=1&doke̲xt=htm.
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Attridge, Jeffrey Nathaniel. "Indigeneity on Display: Ethnographic Adventure Film in Amazonia." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/77691.
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This paper seeks to explore the early twentieth century trend of ethnographic adventure filmmaking. A subgenre of the ethnographic film, these works blended ethnographic observations with scripted and staged adventure stories, advancing popular tropes of indigenous first contact and the superiority of Western civilization. Focusing on a 1931 expedition to the Amazon which resulted in the creation of the first sync-sound ethnographic adventure film, titled Matto Grosso: The Great Brazilian Wilderness, I argue that despite flaws in its conception, production, and media coverage, this film serves as an example of how non-academic sources of knowledge production can still create important primary documents for indigenous source communities.Master of Arts
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Andrews, Erin Leigh. "Old Stories, New Narratives: Public Archaeology and the Politics of Display at Georgia's Official Southeastern Indian Interpretive Center." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/anthro_theses/30.
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Presenting a case study of an American Indian exhibit at the Funk Heritage Center, I critically examine how this museum’s ideologies and preferred pedagogies shape public discourse about Southeastern Indians in the past and present. Using the methodology of Visitor Studies, this public archaeology project illustrates the benefits of incorporating applied anthropology into museological practice through collaboration with museum staff, volunteers, visitors, and American Indians. Operating within the theoretical frameworks of Charles R. Garoian (2001) and Barbara Kirshenblatt-Gimblett (1991), my results imply that inserting archaeological narratives into institutional pedagogy alters a museum’s traditional “performance” of the past by challenging its own authority; ultimately, I show how this process can increase viewer awareness about the politics of display.
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Hughes-Skallos, Jessica M. "Displaying Archaeology: A Look into the Representation of Archaeology in United States Natural History/History Museums." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384850209.
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Cravins, Candice L. "An Exploration of Object and Scientific Skills-Based Strategies for Teaching Archaeology in a Museum Setting." DigitalCommons@USU, 2014. https://digitalcommons.usu.edu/etd/2774.
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Archaeologists are increasingly asked to justify the meaning and importance of their work to the public through the development of outreach and education programs. As repositories of culture, museums provide a perfect medium to assist in the promotion of an archaeology that is both relevant and engaging. Many archaeology education programs advocate “doing” or “learning about” archaeology, placing strict emphasis upon stewardship messages and the dangers associated with looting and site destruction. While this approach to teaching makes excellent sense from a modern cultural resource management perspective, it fails to portray archaeology education in any other light.
Archaeology exhibits particular relevance within public schools, whose population holds one of the discipline’s largest, most inclusive captive audiences. This paper explores the most effective strategies for teaching archaeology to third and fourth grade students in the museum. I assess student level of engagement with object- and scientific skills-based activities, and results of a pilot study conducted at the Utah State University Museum of Anthropology indicate a need for more object-based curricula within archaeology education programs. Detailed consideration of archaeology’s relevance to skills developed within the social, physical, and life sciences highlights areas of focus and improvement in current and future programs.
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Fiorillo, Patricia. "The impact of Native American activism and the media on museum exhibitions of indigenous peoples| Two case studies." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10154926.
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This thesis is a critical study of two exhibits, First Encounters Spanish Exploration in the Caribbean and A Tribute to Survival. The objective of the thesis was to understand if and how indigenous activists, using the media as tool, were able to change curatorial approaches to exhibition development. Chapter 1 is broken into three sections. The first section introduces the exhibits and succinctly discusses the theory that is applied to this thesis. The second section discusses the objectives of the project and the third provides a brief outline of the document. Chapter 2 discusses the historical background of American museums in an attempt to highlight changes in curatorial attitudes towards the public, display, interpretation, and authority. Chapter 3 gives a more in-depth overview of the methodology and materials utilized in the thesis. Chapter 4 is a critical analysis of the literature for both First Encounters and A Tribute to Survival. Chapter five is a summary of the thesis and offers a conclusion of the effectiveness of using the media as a tool.
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Mills, Cory C. "Olfaction and Exhibition| Assessing the Impact of Scent in Museums on Exhibit Engagement, Learning and Empathy." Thesis, Florida Atlantic University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10610506.
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The aim of this investigation is to analyze the effects of incorporating scent-based elements in ethnographic exhibits. Specifically, it attempts to identify changes in patron response to a visual display, with and without a scent element. Groups of patrons were observed throughout their engagement with the exhibit, and interviewed post-engagement to generate data on information retention, opinion on content and empathetic response in relation to the exhibit. Findings suggest that the inclusion of scent did increase memorization of the limited facts reinforced through the scent element. However, there was no detectable difference between the groups on measures of overall comprehension of the subject matter, nor their empathetic responses toward the exhibited culture. The results of the study are discussed as a measure of the observer—observed dichotomy, and the argument is made that multisensory representation in the museum can aid in the facilitation of cross-cultural education.
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Conte, Francesca. "From discovery to encounter: The new role of ethnographic museums. : The case study of the National Prehistoric and Ethnographic Museum‘L. Pigorini’." Thesis, Högskolan Dalarna, Afrikanska studier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28169.
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Since its creation, the ethnographic museums have aimed to represent the other cultures. The most recent trends in museology have encouraged the ethnographic museums to go beyond the discovery and to create a space of intercultural dialogue. This thesis analyses the impact of multiculturalism and postcolonialism on the temporary exhibitions organised at the National Prehistoric and Ethnographic Museum ‘L. Pigorini’. The study is conducted on the African heritage and in the selected period 1994-2014. The research is carried out pinpointing three main channels through which the two ideological orientations could penetrate in the museum practices. By the evaluation of the exhibitions, this study provides a new methodology for the understanding of the influences of the most recent trends in museology within the museum contexts.
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Curtis, Kelley. "Designing Interactive Multimedia for the Anthropology Exhibit Gallery." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000079.
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Parker, Marie Ann 1960. "The Hopi Craftsman Exhibition at the Museum of Northern Arizona: Only the finest in Hopi art." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/291572.
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Mary-Russell and Dr. Harold Colton, co-founders of the Museum of Northern Arizona in Flagstaff, opened the Hopi Craftsman Exhibition, a show of fine Hopi art, in July of 1930. Believing that traders' emphasis on mass production of tourist trinkets contributed to a decline in the quality of Hopi art, Mary-Russell determined to introduce the buying public to quality Hopi art, hoping this would stimulate better prices. Through the Hopi Craftsman Exhibition, Mary-Russell encouraged Hopi artists to use quality materials and sought ways to help them improve their techniques. Throughout the years, the goals and logistics of the Hopi Craftsman Exhibition have changed to keep up with the ever-increasing interest in Hopi arts. Today, the Hopi Marketplace showcases quality Hopi art to a discerning public. Hopi artists appreciate the encouragement, exposure, and recognition the Hopi Craftsman Exhibition has given them and their art over the years.
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Pace, Christine R. "Art Museum Education and Well-Being." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1469887811.
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de, Lannoy Jean. "Through the vale of darkness : history in South Malakula, Vanuatu." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:57eb5894-fe4c-440a-843f-fe195d4239d0.
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The thesis is a multi-vocal and localized history of the destruction of ancient Malakulan society through depopulation, migration and conversion, of the salvation of some people who gathered around Christian communities, and of the relationship of these people and their descendants to the places they have left and to the communities in which they now live. The thesis brings a historical perspective to Vanuatu anthropology. Compared to earlier work in anthropological history in the Pacific by Sahlins, Dening and Bronwen Douglas, the main innovation in method is that all historical statements are set in their context, emphasizing the multiplicity of view points and revealing the significance of even minor variations which refer to important local issues, from land disputes to conversion to Christianity. Innovative use is made of funerary inscriptions, local maps and court archives, reflecting local forms of historical literacy. The research is part of a growing interest in Christianity in Oceania, after a long neglect by anthropologists. This is the first historical anthropology of Vanuatu and perhaps Melanesia to consider the long-term social impact of the dramatic depopulation that accompanied the colonial expansion of Europeans. The abandonment of the interior of the island of Malakula and the weakening of traditional links with other islands have reduced the social space of Malakula to the original zone of contact with Europeans, the coastal areas and nearby small islands. I argue that Christianity allowed the people of Malakula to create a new form of sociality in response to these events. The new society has its own time and space organized around the nuclear family meal and Sunday service, which were the two cornerstones of the conversion process, symbolizing the abandonment of former ritual activities and of the segregation of cooking fires according to ritual status. This process of cultural adaptation continues with the appropriation by villagers of the historical perspective of official courts favouring material evidence and legalistic principles in land disputes. Earlier research on Vanuatu was dominated by the themes of 'kastom', a discourse on tradition opposed to Western ways, and of the rootedness of people in place. This double emphasis is linked to the fact that most fieldwork in the country was done in the 1970s before a fifteen years ban on foreign research after Independence in 1980. In the context of the struggle for Independence and the restitution of alienated land, Vanuatu people needed to emphasize indigenous values and attachment to land. Today, priorities on the ground have changed and new types of discourses have come to the fore emphasizing conversion to Christianity and adopting new concepts reflecting a shift in preoccupation from recovering colonial land to the relation between indigenous Christian migrants and original owners.
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Cychosz, Elizabeth K. ""Everything is Just Starting": (Re)presenting the Tuol Sleng Museum of Genocidal Crimes as a Post-Justice Site of Memory." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429785468.
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Adler, Allison Marie. "Becoming and being at the crossroads : challenging borders at the Museum of Anthropology at the University of British Columbia." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62750.
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This paper explores how the Museum of Anthropology (MOA) at the University of British Columbia (UBC) creates exhibitions on conditions associated with globalization, such as transnationalism and migration. This has been a particular focus of the museum since the completion of an expansion project, officially titled “A Partnership of Peoples” (2006-2010), which sought to establish MOA as an internationally renowned museum of world art and culture. Guided by art historian Saloni Mathur’s question, “what kind of ideological work is sustained by [a] particular notion of the ‘global’?” this paper explores how MOA portrays an increasingly globalized world through exhibitions, as well as the “work” these exhibitions accomplish on both a discursive level and the level of individual viewers. These topics are explored through the analysis of two temporary exhibitions: Border Zones: New Art Across Cultures (2010) and Safar/Voyage: Contemporary Art by Arab, Iranian and Turkish Artists (2013). In addition to focusing on the selection and arrangement of particular works in the gallery space, this paper examines the discourses used to speak about the “work” done by each exhibition. When combined with theories of performativity, embodiment, and narrativity, this discursive analysis demonstrates how these exhibitions opened up pathways for viewers to participate in the exhibition space and become certain types of global subjects. Through examining the discourses employed in each exhibition and the pathways they opened for viewers, this paper argues that both Border Zones and Safar/Voyage created translocal spaces in which viewers were encouraged to become crossroads. The tension between local and global embodied by the concepts of the crossroads and translocalism is also a tension that reflects MOA as a whole. Ultimately, this paper calls for greater attentiveness to the borders that may be unintentionally reconstructed by the discourses applied to exhibitions on conditions of globalization.Arts, Faculty of
Anthropology, Department of
Graduate
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Dailey, Taren Laine. "Museums in the Age of Neoliberalism: A Multi-Sited Analysis of Science and Health Museums." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-12032006-111240/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Emanuela Guano, committee chair; Cassandra White, Kathryn Kozaitis, committee members. Electronic text (80 p.) : digital, PDF file. Description based on contents viewed May 3, 2007. Includes bibliographical references. Includes bibliographical references (p. 73-76).
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Webb, Brittany. "Materializing Blackness: The Politics and Production of African Diasporic Heritage." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/504409.
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AnthropologyPh.D.
"Materializing Blackness: The Politics and Production of African Diasporic Heritage” examines how intellectual and civic histories collide with the larger trends in the arts and culture sector and the local political economy to produce exhibitions at the African American Museum in Philadelphia (AAMP) and structure the work that museum exhibitions do to produce race visually for various audiences. Black museums are engaged in the social construction of race through their exhibitions and programs: selecting historical facts, objects and practices, and designating them as heritage for and to their audiences. In tracking this work, I am interested in 1) the assemblages of exhibits that are produced, as a function of 2) the internal logics of the producing institutions and 3) larger forces that structure the field as a whole. Looking at exhibits that engage Blackness, I examine how heritage institutions use art and artifacts to visually produce race, how their audiences consume it, and how the industry itself is produced as a viable consumptive market. Undergirded by the ways anthropologists of race and ethnicity have been explored and historicized race as a social construction I focus on an instantiation of the ways race is constructed in real time in the museum. This project engages deeply with inquiries about the social construction of race and Blackness, such as: how is Blackness rendered coherent by the art and artifacts in exhibitions? How are these visual displays of race a function of the museums that produce them and political economy of the field of arts and culture? Attending to the visual, intellectual, and political economic histories of networks of exhibiting institutions and based on ethnographic fieldwork in and on museums and other exhibiting institutions, this dissertation contextualizes and traces the production and circulation of the art and artifacts that produce the exhibitions and the museum itself as a way to provide a contemporary concrete answer. Overall “Materializing Blackness” makes the case for history and political economy as ghosts of production that have an outsized impact on what we see on exhibition walls, and are as important to the visual work as a result. Further it takes the Black museum as a site of anthropological engagement as a way to see the conjuncture of the aesthetic and the political, the historical and the material in one complicated node of institution building and racecraft in the neoliberal city.
Temple University--Theses
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Baker, Joseph O., and Joseph O. Baker. "Dinosaurs, Diagrams, and Diabolic Darkness: Sexual Politics in the Creation Museum and among the American Public." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2595.
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Proffitt, Rebecca J. "The Old Deery Inn & Museum: An Ethnographic Case Study." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3241.
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This thesis uses qualitative ethnographic research methods to present a case study that explores the multiplicity of meanings and representations that are attached to the Old Deery Inn & Museum in Blountville, Tennessee. Within the community, the Inn functions as a center for cultural memory, with the physical structure itself acting as an artifact that holds community identity. This community narrative contrasts with the official narrative used by tourism entities that markets the Inn as a part of the Appalachian region, situating the Inn within a complex and intricately constructed identity of place that is shaped by lived experiences as well as perceived cultural markers. By unraveling the narratives, this study unpacks the ways that the Inn’s various identities figure into the development of current interpretation and management efforts, and the way that this locally important historical site fits into the larger narrative of tourism marketing in East Tennessee.
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Gonzalez-Ayala, Sofia Natalia. "Black, Afro-Colombian, Raizal and Palenquero communities at the National Museum of Colombia : a reflexive ethnography of (in)visibility, documentation and participatory collaboration." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/black-afrocolombian-raizal-and-palenquero-communities-at-the-national-museum-of-colombia-a-reflexive-ethnography-of-invisibility-documentation-and-participatory-collaboration(e40c8594-35c7-49b9-af1c-ccca82cb335f).html.
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The subject of this thesis is the temporary and travelling exhibition Velorios y santos vivos: comunidades negras, afrocolombianas, raizales y palenqueras [Wakes and living saints: Black, Afro-Colombian, Raizal and Palenquero communities]. ‘Velorios,’ as many people involved in the project referred to it, portrayed Afro-Colombian funerals and devotions to Catholic saints, and was on display in the temporary exhibitions hall in the National Museum of Colombia, in Bogotá, from 21 August to 3 November 2008. Before it closed, a travelling version was designed that began to go around the country in 2009. When I wrote this thesis, ‘the Itinerante,’ as the travelling version was referred to at the Museum, was still available as one of the displays that its Travelling Exhibitions Programme (TEP) offered to the public. I use Velorios and the Itinerante as the main ‘characters’ in an ethnography of the National Museum of Colombia, where I explore the different instances in which this major exhibition produced visibilities and invisibilities regarding the place of Afro-Colombian people in the nation. As a museum, this institution is responsible for managing, researching and displaying its four collections (of art, history, ethnography and archaeology) but also, as one of the Ministry of Culture’s ‘special administrative units,’ it is in charge of designing and implementing policies that regulate all the other museums in Colombia. This is in keeping with national and international official legislation regarding cultural heritage, like the National Culture Plan and UNESCO’s resolutions, and in support of the development and strengthening of museums, museology and museum design in the whole country. Here I show what these responsibilities and duties translate into on the ground. The themes that the thesis explores are i) (in)visibility, ii) participatory collaboration and, also as the means to approach these themes, iii) documents and documentation. They are all components of the kind of curatorship that this museum exhibition conveyed.
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Perazzi, Pablo. "Anthropology on stage: networks of influence, sociability and prestige at the begining of Etnographic Museum of the universidad de Buenos Aires." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/79068.
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Este artículo se propone analizar algunos aspectos de la trayectoria inicial del Museo Etnográfico —de 1904 a 1917—, período caracterizado por la dirección del arqueólogo Juan B. Ambrosetti (1865-1917). El objetivo es dar cuenta de la situación del establecimiento en el circuito museológico extendido, la inserción de su director en los ámbitos de sociabilidad, las conexiones con coleccionistas, amateurs, funcionarios e instituciones análogas, las redes de intercambio de favores y recursos, y las estrategias para la adquisición y formación de sus colecciones. A lo que se aspira, pues, es a un entendimiento de las tramas de poder, mecenazgo e influencia alrededor de las cuales un espacio intelectual determinado fue ganando credibilidad, legitimidad y el prestigio necesarios para dotar a la disciplina del capital simbólico y social esperado. La tesis que se sustenta es que, en su fase formativa, las disciplinas antropológicas se modularon y obtuvieron reconocimiento sobre la base de alianzas, generalmente de tipo informal, con instituciones y agentes no pertenecientes a la comunidad de referencia.This article intends to analyse some aspects of the initial trajectory of the Ethnographic Museum —from 1904 to 1917— period characterized by the direction of archaeologist Juan B. Ambrosetti (1865-1917). The aim is to give an account of the situation of the establishment in the museological circuit locally and internationally, the inclusion of the director in the spheres of sociality, connections with collectors, amateurs, civil servants and similar institutions, networks for the exchange of favors and resources, and strategies for acquisition and training of their collections. What aims, therefore, is an understanding of the plots of power, patronage and influence around which a given intellectual space gained credibility, legitimacy and the prestige necessary to equip the discipline of the expected social and symbolic capital. The thesis supported is that, in their formative stage, anthropological disciplines were modulated and gained recognition on the basis of partnerships, generally of informal kind with institutions and agents not belonging to the community of reference.
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Kefalas, Christofili. "Maori ways of knowing : the politics of knowledge surrounding Taonga and the Charles Smith Collection." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:775ee755-5e2e-409b-98a2-b3e113b42172.
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This research considers material culture, the politics of identity, and the role knowledge plays in a Maori community in relation to a nineteenth century historic collection held abroad. The Charles Smith collection came from the Nga Paerangi community in Whanganui, New Zealand. The importance of historic collections to Maori are described through the concept taonga, or treasured objects, which have been theorized in terms of kinship relationships to a certain class of social valuable. This research acknowledges that taonga uphold the continuity of historic relationships, but departs from other analyses in its focus on a previously unknown collection, introduced to the source community through photographs in an exploration of ways taonga interactions are historically and circumstantially informed. Visually focused research endeavors often present diverse responses in a meeting of the social life of objects and the politics of knowledge. Similarly, divergent responses to taonga arose that referenced the colonial contexts in which such taonga left Maori control, as well as losses to knowledge bases in the community. Endeavors to reclaim lands and cultural heritage through language and education initiatives operate at a local level of regeneration, but these goals become pertinent to larger issues of placing knowledge within a rights-based framework grounded in personal socializations of knowledge. The recognition that knowledge is taonga emerged as the framework for understanding ways Maori assert their authority over land, their language, and museum collections based in particular dispositions to knowledge. The control enacted over cultural representations in museums, land courts, and other political forums, asserts self-determinative positions, and also claims Maori knowledge as a scarce resource. Community speakers who have access to this powerful knowledge must therefore act on behalf of their communities as guardians of knowledge and taonga treasures, to redress historic losses, outsider appropriations of culture, and prevent further social disadvantages.
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Fidler, Rachel L. "Holocaust Memorialization: Perceptions of the Workplace, Translation of Memory, and Personal Experiences of Museum Staff and Volunteers." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/492.
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The development of Holocaust museums in the United States has created employment opportunities in Holocaust education. Paid staff and volunteers at Holocaust museums represent a distinct niche of professionals in these fields. This thesis explored personal perspectives and backgrounds of staff and volunteers, motivations for pursuing Holocaust education careers, translation of Holocaust information to visitors and student groups, and the role staff in different departments play alongside museum content. Employees and volunteers at two Holocaust museums participated in semi-structured interviews and open-ended survey questionnaires. The results from subsequently coded interviews and survey responses indicate that personal connections, through family, academic study, or other job positions, feelings of fulfillment at work, and passion for active translation and participation within the surrounding community were demonstrated by most employees and volunteers, especially those with high visitor interaction and engagement. Furthermore, perceptions of Holocaust museums as spaces of heaviness and solemnity, framed by the deaths of millions, were accepted but generally not related to the personal experience of Holocaust museum staff; thought Holocaust museums were created out of an event of mass death and destruction, the museums are spaces of life. Staff and volunteers at my research sites expressed feeling very fulfilled and inspired by the work they do as Holocaust educators.
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Martin, Sarah Abigail. "Expression of fluctuating asymmetry in primate teeth: Analyzing the role of growth duration." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366187797.
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de, Vries Louise. "(Re)assembling Our Past, Present and Future : The Slovene Ethnographic Museum as a Platform for Dialogue." Thesis, Uppsala universitet, Institutionen för kulturantropologi och etnologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-354143.
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This thesis aims to illustrate and explain contemporary interactions between Western ethnographic museums and broader society. It is based on one central case study, the Slovene Ethnographic Museum (SEM) in Ljubljana, Slovenia. A majority of informants expressed a wish for the museum to be a platform for dialogue. In connection to their visions, this thesis discusses the potential of ethnographic museums to work towards promoting and facilitating inclusivity and social change as well as some tensions that arise from this development. This is done through an analysis of ethnographic data on museum employees’ views on the relevance and responsibilities of the museum and its status as a cultural and scientific institute. New museology and actor-network theory are used as primary analytical tools. A responsibility to represent ‘correctly’ in the museum is related to the influence that tangible and intangible heritages, as actants, can have on society. It is argued that cultural heritage could be instrumental in achieving positive social change. However, there is a core tension between the envisioned position of the museum and the power hierarchy that it maintains through its identity as a scientific institute that shapes dominant knowledge.
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Jonas, Michael Jesaja. "Kleinplasie living open air museum: a biography of a site and the processes of history-making 1974 – 1994." Thesis, University of the Western Cape, 2012. http://hdl.handle.net/11394/4046.
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Magister Artium - MAIn 1974 an Agricultural Museum Committee was established at the Worcester Museum which ultimately led to the development in 1981 of the Kleinplasie Open Air Farm Museum.This began a new phase in the museum’s history, one that I will argue was particularly closely linked to Afrikaner nationalist historiography, in particular to ideas about frontier farmers and pioneer farming lifestyles and activities.This study will take the form of a critical analysis of the establishment of Kleinplasie Living Open Air Museum from 1974 until 1994. It will evaluate the making of exhibitions, its architecture, and the performances and public activities in the establishment of the institution as a site of memory and knowledge. The key question this work engages with is how representations, performance, exhibitions, museum activities, and public involvement were shaped to create particular messages and construct a site of cultural identity and memory at Kleinplasie Living Open Air Museum.It will also deal with questions around who decides on the voices and content of the exhibitions, architecture and displays. The role played by professionals, those who claim to represent community, donors and other interests groups will also be placed under the spotlight. There are also questions around the provenance of collections, the way they were acquired through donations and sponsorships, and the crucial role objects played in the construction of the narrative and identity of the museum.A key question that emerges from my own work is the connection between the Afrikaner nationalist scholarship and the development of the open-air museum based on the life of the frontier farmer at Kleinplasie. While Kleinplasie does not seem to follow the monumental approach that was evident in schemes such as the Voortrekker Monument in Pretoria, where triumphalism and conquest are key metaphors, it does rely on a sense of ‘independence’ and self-fulfilment in social history type setting. There is thus a need to consider how Afrikaner nationalist historiography impacted on the way history was depicted at Kleinplasie. P. J. van der Merwe’s studies of the character and lifeways of the trekboer(Die Trekboer in die Geskiedenis van die Kaapkolonie), seems to have played a central role in the construction of the theme and narrative. This three-volume trilogy provided Kleinplasie(literally, ‘little farm’) with a social and cultural history on which to construct its version of the past.
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Parno, Travis Gordon. ""With the quiet sturdy strength of the folk of an older time": an archaeological approach to time, place-making, and heritage construction at the Fairbanks House, Dedham, Massachusetts." Thesis, Boston University, 2013. https://hdl.handle.net/2144/34331.
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Thesis (Ph.D.)--Boston UniversityHistoric houses function as the stages for, and central figures in, processes of place-making and heritage construction. I offer the case site of the Fairbanks House (completed in 1641) in Dedham, Massachusetts as the subject of my investigation into these issues. Touted as the "oldest timber frame house in North America," the Fairbanks House is widely regarded as a significant example of early colonial architecture in the United States; it has operated as a house museum since it was purchased by the Fairbanks Family in America, Inc. stewardship group in 1904. This study expands beyond antiquity to include all eight generations of Fairbanks families who lived on the property. I argue that longevity, and a durational perspective that links the past with the present, is equally vital to peoples' understanding and appreciation. I trace the biography of the Fairbanks House from its creation in the early 17th century to its current use as a heritage site. This perspective emphasizes the continued saliency of accumulated individual decisions and actions, reified by both material culture and immaterial processes such as tradition and memory. I use archaeological, architectural, documentary, and oral sources to reconstruct the landscape of the Fairbanks farm and I demonstrate how residents made day-to-day choices, such as land purchases or neighborly socializing, to improve their socio-economic standing and establish a future for their children. In doing so for eight generations, they established a legacy that was celebrated beginning in the 19th century, when Fairbanks women living in the house promoted their family's history through storytelling and published media. These processes of heritage construction remain continuous and personal, as shown by the results of an ethnographic study that I designed, which reveals that Fairbanks House museum visitors define historicity not through specific facts about the Fairbanks family but through their own narratives based on their engagement with the site's material culture. In addition to providing an important example of how generations of modestly-successful New England farmers adapted their surroundings to fit their values and goals, this study positions local house museums as dynamic spaces for creative, personal engagements with the past.
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Ponte, Maria Ines. "Crafted 'children' : an ethnography of making and collecting dolls in Southwest Angola." Thesis, University of Manchester, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654868.
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Grounded in multi-sited fieldwork within an agro-pastoralist highland village in Southwest Angola and in ethnology museums in Europe, Angola and Namibia, my research interweaves an ethnographic and a historical approach to better understand the meanings and social relationships generated by what I call “elusive dolls”: dolls that are difficult to find and slippery when encountered. The study explores postcolonial significances of African dolls, made by agro-pastoralist people, which have been sparsely collected for display in museums since colonial times. Using multiple field methods such as participant observation, archival research, photo-elicitation, and filmmaking, I trace the social relationships involved in the making of dolls in Southwest Angola and in the housing of the same kind of dolls in ethnology museums, paying particular attention to the material and social networks established around the practices of making and collecting them. Following the logic of local languages (olunyaneka, oshikwanyama), I use the notion of “crafted ‘children’” to define handcrafted dolls made of different materials, and address the meanings these dolls embody for makers, collectors and museum curators. I take a historical perspective to examine the dimensions of storage, research and display and address contrasting curatorial approaches to dolls in museums. While most curators have tended to focus on dolls and their supposed functions, a few have engaged with dolls in relation to other domains of the lifeworlds of rural makers and their skilled practices. Examining the limits of historical ethnographic research about local doll-usage, I build upon these alternative approaches by curators and ethnographically explore the relational dimensions of these dolls in two worlds in which they have material and social lives: Southwest Angola and ethnology museums. Firstly, I examine the regional diversity of these dolls, as crafted “children”, in the rural context through a situated understanding of ethnic and ecological diversity and rural-urban relations. Secondly, I explore the twofold notion of labour – that is, the labour in crafting and the labour in making a living - in the regional domestic economy of agro-pastoralist populations, showing how a resilient rural lifestyle, local and urban resources, seasonal demands, and personal skills linked to age and sociality generate and shape the practices of doll-making. Finally, I examine drawing and photography in published and unpublished material about dolls and show how the visual connects the worlds of curators, field-collectors, makers and ethnographers. A large part of the literature on ethnology museum collections tends to focus on “repatriation”, discussing relations between museums and “source communities”. By contrast, an analytical framework connecting doll-making and collecting, the regional conditions of a crafting practice and its local immersion in rural everyday life, appears only marginally in the literature - this is where my research makes a significant contribution. My thesis contributes to critical museology research, Africanist studies, and visual anthropology and engages with debates on materiality and skill. The film that accompanies the thesis, Making a Living in the Dry Season, is grounded in a long-term stay in a village, and examines the twofold notion of labour mentioned above through the practice of doll-making. I recommend first reading the thesis up until Chapter three, followed by watching the film, and then turning to the remaining chapters.
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PONTES, Neila Denise Macedo Teles de. "Um "mix de mixórdias": ensaio antropológico sobre o discurso expositivo do Museu do Homem do Nordeste." Universidade Federal de Pernambuco, 2012. https://repositorio.ufpe.br/handle/123456789/19114.
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Os museus são instituições culturais que exibem formas de interpretação das culturas, definem e atribuem valores, de forma mais ou menos consciente, portanto, comunicando significados e podendo constituir-se assim como objeto de estudo privilegiado sobre a aplicação das teorias culturais. São instituições que tem por finalidade comunicar (em alguns casos), negociar e preservar os aspectos culturais considerados importantes em determinado contexto social. Este ensaio antropológico visa apresentar os resultados obtidos na pesquisa que teve por objetivo investigar o processo de construção do discurso museológico bem como analisar a narrativa expográfica atualmente em exibição no Museu do Homem do Nordeste (Recife -PE) . Considerando os paradigmas propostos pela antropologia interpretativa que tem como foco uma descrição densa na busca de significados possíveis e empreendendo as ações recomendadas por Igor Kopytoff para realização da análise biográfica deste museu, busquei observar as invisibilidades de sua construção discursiva realizando assim um estudo que se constitui como uma antropologia dos museus. Assim desejo contribuir para o debate acerca das atuais representações da identidade regional nordestina e do papel dos museus tradicionais na construção dessas identidades.
Museums are cultural institutions that participate in the process of interpreting cultures, defining and assigning value in a more or less conscious form, therefore making them able to communicate meaning while occupying the status of a privileged object of study for the construction and use of cultural theories. At the same time, their main institutional aim is to communicate (in some cases), negotiate and preserve certain cultural elements that are considered important within a given social context. The present anthropological essay aims at presenting the results obtained during fieldwork at the Museu do Homem do Nordeste (Recife – PE), focused on investigating the process of the construction of the museum’s discourse as well as analyzing the narrative of the exhibit currently on display. In order to produce a study that could be considered an Anthropology of Museums, the author focused on observing the invisible aspects of the museum’s discourse by taking into consideration the paradigms proposed by interpretive Anthropology and its dense description as a form of uncovering possible meanings while following the steps recommended by Igor Kopytoff in order to develop the biographic analysis of the institution. These efforts intend to shed new light on the debates about the construction of Northeastern regional identity representation and the social function of traditional museums within such processes.
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Ayres, Sara Craig. "Hidden histories and multiple meanings : the Richard Dennett collection at the Royal Albert Memorial Museum, Exeter." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1039.
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Ethnographic collections in western museums such as the Royal Albert Memorial Museum (RAMM) carry many meanings, but by definition, they represent an intercultural encounter. This history of this encounter is often lost, overlooked, or obscured, and yet it has bearing on how the objects in the collection have been interpreted and understood. This thesis uncovers the hidden history of one particular collection in the RAMM and examines the multiple meanings that have been attributed to the objects in the collection over time. The Richard Dennett Collection was made in Africa in the years when European powers began to colonise the Congo basin. Richard Edward Dennett (1857-1921) worked as a trader in the Lower Congo between 1879 and 1902. The collection was accessioned by the RAMM in 1889. The research contextualises the collection by making a close analysis of primary source material which was produced by the collector and by his contemporaries, and includes publications, correspondence, photographs and illustrations which have been studied in museums and archives in Europe and North America. Dennett was personally involved with key events in the colonial history of this part of Africa but he also studied the indigenous BaKongo community, recording his observations about their political and material culture. As a result he became involved in the institutions of anthropology and folklore in Britain which were attempting to explain, classify and interpret such cultures. Through examining Dennett’s history this research has been able to explore the Congo context, the indigenous society, and those European institutions which collected and interpreted BaKongo collections. The research has added considerably to the museum’s knowledge about this collection and its collector, and the study responds to the practical imperative implicit in a Collaborative Doctoral Project, by proposing a small temporary exhibition in the RAMM to explore these histories and meanings. In making this proposal the research considers the current curatorial debate concerning responsible approaches to colonial collections, and assesses some of the strategies that are being employed in museums today.
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Portela, Andrea Lomeu. "Trajetórias sociais das roupas do Museu Mariano Procópio: tramas e afetos." Universidade Federal de Juiz de Fora (UFJF), 2010. https://repositorio.ufjf.br/jspui/handle/ufjf/4482.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Os estudos sobre a indumentária reclamam novas perspectivas sobre as redefinições culturais e sobre a historicidade dos modos de uso dentro da realidade local, por isso temos como proposta lançar um olhar sobre a indumentária do Museu Mariano Procópio. Um lugar que intermedia o histórico de uso dos objetos, que, como roupas, estabeleceram complexa aproximação com os corpos que vestiram provocando reflexões diversas. O colecionismo é a forma como estas roupas foram reunidas, conservadas e estão inseridas no presente e, mesmo não estando em um circuito de recepção e de parte das peças permanecerem incógnitas no museu, a intenção é mostrar que os objetos têm vida social. Buscamos minimizar a condição de representação que comumente é dada às roupas, testando outras dimensões dos objetos e desfazendo antológicas dicotomias para pensar estas roupas como objeto de reflexão antropológica. Traçamos a biografia dos objetos de nosso interesse a partir da coleção de Alfredo Ferreira Laje, na qual encontramos três universos de roupas: trajes reais, trajes militares e trajes femininos. Esta subdivisão nos remete ao contexto feminino de uma época carregada de singularidades, o século XIX, período de formação desta coleção de indumentária e de transformação da lógica de sedução das roupas. É quando atua a dimensão da moda, quando se faz presente e, por vezes, se desfaz. Ao longo do trabalho de campo, procuramos compreender as relações sociais que os objetos mobilizam em suas trajetórias de vida, sobretudo em seu estágio atual. As roupas, tanto como outros objetos, são vívidas e interessam aos novos diálogos que o museu busca travar, num processo de reinvenção de si, desafiando os propósitos da modernidade que tentam sobreviver ao século XXI. As relações sociais vividas no presente, mesmo longe das funções originais para as quais as roupas foram concebidas, parecem mostrar como estes objetos continuam dispersando diferentes ações simbólicas e/ou sensitivas, levando em conta o fato de atribuirmos valores humanos às coisas e, igualmente, a situação inversa. A realidade singular do museu atribui um valor intrínseco ao tempo de existência destas peças, revelando as potências diversas que fazem dos objetos mais que mediadores entre os homens e o mundo, mas participantes do mesmo fluxo vital.
Studies on clothing require new perspectives on cultural redefinitions and the historicity of modes of use within the local reality, so we have proposed to have a look at the clothing Museum Mariano Procopio. A place that mediates the historic use of objects, which, like clothes, established complex approach with the bodies dressed causing several reflections. The collecting is how these clothes were gathered, preserved and are inserted in the present. And, even if not in a reception circuit and parts of the pieces remains as unknowns in the museum, the intention is to show that objects have social life. We seek to minimize the condition of representation that is commonly given to clothing, testing other dimensions of objects and undoing anthological dichotomies to think these clothes as anthropological reflection object. We trace the biography of the objects of our interest from the collection of Alfredo Ferreira Laje, in which we find three universes of clothes: royal robes, military costumes and female outfits. This subdivision refers to the female context of a time charged with singularities, the nineteenth century, period of formation of this collection of clothing and transformation of clothes seduction logic. It is when the fashion dimension acts, when it makes itself present and, sometimes, breaks. During the field work, we seek to understand the social relations that objects mobilize in their life trajectories, especially its current stage. The clothes, as much as other objects, are vivid and interest to the new dialogues of the museum search, in a process of reinventing itself, defying the purpose of modernity that attempt to survive the twenty-first century. The social relationships lived in the present, even away from the original functions for which the clothes were designed, seem to show how these objects continue dispersing different actions symbolic and / or sensitive, taking into account the fact that we attribute human values to things and, also, the reverse situation. The unique museum reality gives an intrinsic value to the time of existence of these pieces, revealing the capacity that makes objects more than mediators between men and the world, but participants in the same vital flow.
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De, Wild Karin. "Internet art and agency : the social lives of online artworks." Thesis, University of Dundee, 2019. https://discovery.dundee.ac.uk/en/studentTheses/a6a64a92-2edc-44a8-b371-de4a61bdc289.
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During the 1990s, artists started to explore the possibilities of the World Wide Web. This thesis investigates online artworks by studying their agency. Why do people interact with them, as if they are alive? How do they mobilise people, or make them share visions and ideas? Based on research in largely untapped archives, it presents an in-depth examination of several case studies, exploring the artwork's ability to have the power to act in a variety of social settings. Through studying the life trajectory of the artwork, it also offers insights in how these dynamic entities undergo changes over time and across cultures. Grounded in theoretical literature on the agency of art, this research offers an innovative way of understanding Internet art and it contributes to wider conversations about the agency of art and artefacts. Case studies include: Mouchette (Martine Neddam), 'Mouchette' (1996-present). Web project (www.mouchette.org). Collection of Stedelijk Museum (Amsterdam). Shu Lea Cheang, 'Brandon' (1998-1999). Web project (brandon.guggenheim.org). Collection of Solomon R. Guggenheim Museum (New York). Lynn Hershman Leeson, 'Agent Ruby' (1998-2002). Web project (agentruby.sfmoma.org). Collection of SFMOMA (San Francisco).
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Seiler, Jena M. "Sensing Security through Contemporary Art and Ethnographic Encounters." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou151022822064186.
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Cummings, Catherine. "Collecting en route : an exploration of the ethnographic collection of Gertrude Emily Benham." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/3138.
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In the second half of the nineteenth century and the first decades of the twentieth century the collecting of objects from colonized countries and their subsequent display in western museums was widespread throughout Western Europe. How and why these collections were made, the processes of collection, and by whom, has only recently begun to be addressed. This thesis is an exploration of the ethnographic collection of Gertrude Emily Benham (1867-1938) who made eight voyages independently around the world from 1904 until 1938, during which time she amassed a collection of approximately eight hundred objects, which she donated to Plymouth City Museum and Art Gallery in 1935. It considers how and why she formed her collection and how, as a an amateur and marginalised collector, she can be located within discourses on ethnographic collecting. The thesis is organised by geographical regions in order to address the different contact zones of colonialism as well as to contextualise Benham within the cultural milieu in which she collected and the global collection of objects that she collected. An interdisciplinary perspective was employed to create a dialogue between anthropology, geography, museology, postcolonial and feminist theory to address the complex issues of colonial collecting. Benham is located within a range of intersecting histories: colonialism, travel, collecting, and gender. This study is the first in-depth examination of Benham as a collector and adds to the knowledge and understanding of Benham and her collection in Plymouth City Museum and Art Gallery. It contributes to the discourse on ethnographic collectors and collecting and in doing so it acknowledges the agency and contribution of marginal collectors to resituate them as a central and intrinsic component in the formation of the ethnographic museum. In addition, and central to this, is the agency and role of indigenous people in forming ethnographic collections. The thesis offers a foundation for further research into women ethnographic collectors and a more nuanced and inclusive account of ethnographic collecting.
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Haskin, Eleanor. "Legal Consciousness and the Legal Culture of NAGPRA." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1601049615507107.
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Kandou, Koumba Marie Josée. "Anthropologie et sauvegarde du patrimoine culturel vivant au Gabon : le rôle des musées." Thesis, Pau, 2019. http://www.theses.fr/2019PAUU1058/document.
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Depuis quelques décennies les musées se sont multipliés ; chaque secteur de la culture, chaque communauté, chaque ville veut le sien, pour le prestige ou pour développer l’activité économique. Aussi la conception du musée a-t-elle évolué dans sa forme, ses objectifs, son organisation, sa gestion. C’est ainsi que sont apparus des enjeux financiers, desquels ont résulté des concepts comme l’entreprise culturelle et ses relations avec le marché, la sauvegarde des collections et leur valorisation par des expositions ouvertes aux différents publics. Alors que le musée devient un élément moteur des politiques culturelles, aussi bien au plan national que local, l’Afrique en général et le Gabon en particulier souffrent d’un retard dans ce domaine, malgré le potentiel qui est le leur. Or un musée sans collection n’existe pas : il doit être un lieu d’exposition ou d’interprétation. Et un musée sans public serait une réserve ou un centre d’étude de collections. C’est à travers la consommation des images de l’histoire dans le temps et l’espace que se forge l’expérience subjective des individus sur la politique culturelle. Cette subjectivité individuelle nous incite à concevoir autrement le musée. Aujourd’hui, cependant, cette révision apparaît compliquée pour un Africain en général et un Gabonais en particulier. En effet, au lieu de s’insérer dans une identité locale plus ou moins homogène et circonscrite au sein de l’identité nationale, il entretient des liens ethniques plus larges en raison des rapports personnels, économiques, professionnels ou financiers qui transcendent quelquefois les frontières géographiques et culturelles de la nation. Ainsi, au Gabon, la gestion du patrimoine culturel doit tenir compte non seulement des retombées de sa valorisation mais aussi des acteurs locaux. Le but est de faire profiter les populations locales des retombées de la valorisation de leur patrimoine. Car, une valorisation non encadrée entraîne un tourisme de masse avec son inconvénient, à savoir l’érosion du patrimoine et des valeurs culturelles, causée par une dégradation soit naturelle, soit humaine. C’est pourquoi il est nécessaire d’instaurer une nouvelle approche qui exige de considérer la gestion du patrimoine culturel comme un facteur de développement local et nationalIn recent decades, museums have multiplied in most African societies; each cultural sector, each community, each city wants its own, for prestige or to develop economic and tourism activity. As a result, the design of the museum has evolved in its form, objectives, organization and management. This has given rise to financial challenges, from which concepts such as the cultural enterprise and its relationship with the market, the preservation of collections and their enhancement through exhibitions open to different audiences have emerged. As the museum becomes a driving force in cultural policies, both at the national and local levels, Gabon is lagging behind in this area, despite its potential. However, a museum without a collection does not exist: it must be a place of exhibition or interpretation. And a museum without a public would be a reserve or a center for the study of collections. It is through the consumption of images of history in time and space that individuals' subjective experiences of cultural policy are shaped. This individual subjectivity leads us to conceive the museum differently. Today, however, this revision seems problematic, especially for a Gabonese man. Indeed, instead of being part of a more or less homogeneous local identity that is circumscribed within the national identity, it maintains broader ethnic ties because of personal, economic, professional or financial relationships that sometimes transcend the nation's geographical and cultural borders. Thus, in Gabon, the management of cultural heritage must take into account not only the benefits of its enhancement but also local actors. The aim is to enable local populations to benefit from the benefits of the enhancement of their heritage. For, unframed development leads to mass tourism with its disadvantage, namely the erosion of heritage and cultural values, caused by either natural or human degradation. This is why it is necessary to introduce a new approach that requires considering cultural heritage management as a factor in local and national development
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Parsons, Thad. "Science collection, exhibition, and display in public museums in Britain from World War Two through the 1960s." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:16cadaac-fb44-4edf-9063-d6ee6a9ffd09.
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Science and technology is regularly featured on radio, in newspapers, and on television, but most people only get firsthand exposure to ‘cutting-edge’ technologies in museums and other exhibitions. During this period, the Science Museum was the only permanent national presentation of science and technology. Thus, it is important to acknowledge the Museum’s history and the socio-political framework in which it operated. Understanding the delays in the Museum’s physical development is critical, as is understanding the gradual changes in the Museum’s educational provision, audience, and purpose. While the Museum was the main national exhibition space, the Festival of Britain in 1951 also provided a platform for the presentation of science and technology and was a statement of Britain’s place within the new post-War world. Specifically, within its narrative, the Festival addressed the relationship between the arts and the sciences and the influence of science and technology on daily life. Another example of the presentation of science was the quest for a planetarium in London - a story that involves the Science Museum, entrepreneurs, and Madame Tussauds. Comparing the Museum’s efforts with successful planetarium schemes isolates several of the Museum’s weaknesses - for example, the lack of consistent leadership and the lack of administrative and financial freedom - that are touched on throughout the work. Since most of this history is unknown, this work provides a fundamental basis for understanding the Museum’s current position, for making connections and comparisons that can apply to similar problems at other institutions, and for learning lessons from the struggles that can, in turn, be applied to other institutions.
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Healy, Lynn Marie. "Framing the Victim: Gender, Representation and Recognition in Post-Conflict Peru." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440092938.
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Cirino, Gina. "American Misconceptions about Australian Aboriginal Art." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1435275397.
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Moore, Alahna. "Using Digital Mapping Techniques to Rapidly Document Vulnerable Historical Landscapes in Coastal Louisiana: Holt Cemetery Case Study." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2477.
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This thesis outlines a technique for rapid documentation of historic sites in volatile cultural landscapes. Using Holt Cemetery as an exemplary case study, a workflow was developed incorporating RTK terrain survey, UAS aerial imagery, photogrammetry, GIS, and smartphone data collection in order to create a multifaceted database of the material and spatial conditions, as well as the patterns of use, that exist at the cemetery.
The purpose of this research is to create a framework for improving the speed of data creation and increasing the accessibility of information regarding threatened cultural resources. It is intended that these processes can be scaled and adapted for use at any site, and that the products generated can be utilized by researchers, resource management professionals, and preservationists. In utilizing expedited methods, this thesis specifically advocates for documentation of sites that exist in coastal environments and are facing imminent destruction due to environmental degradation.