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Lilja, Josefin. "Interactive digital storytelling and tangibility in cultural heritage museums." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22810.
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This paper focuses on how a single installation can enhance personalization of the information in cultural heritage museums and enhance the overall experience using interactive digital storytelling and the ability to touch artefacts. Interaction design methods helped establish best practices centring on usability. In the process low- fidelity and mid-fidelity prototypes were created based on the field studies such as obeservations in exhibits and interviewing professionals in different museums. The conclusion could be made that artefact and the purpose of the exhibit as an whole does get more intense if one has the opportunity to touch and make it part of the visitors journey can be said.
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Holmes, Kirsten Janet. "Volunteer and visitor interaction in the UK heritage sector : motives and benefits." Thesis, University of Leeds, 2002. http://etheses.whiterose.ac.uk/2607/.
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This thesis examines the motivation of volunteers through a study of front-of-house volunteers in museums and heritage visitor attractions in the UK. The heritage sector proved an appropriate population for the study sample due to the wide involvement of volunteers. A review of the literature found that research on volunteering had developed along two paradigms: the economic model, which views volunteers as unpaid workers; and the leisure model, which considers volunteering as a leisure activity. Within the heritage sector, the economic model was found to dominate. The study adopted a case study methodology in order to investigate the contexts within which volunteers are motivated. However, a major consideration of the research was to maximise the external validity of the study and 222 volunteers were interviewed across ten case studies. The findings of this thesis show that volunteers consider their activity to be a leisure activity, although this does not conflict with the introduction of professional volunteer management procedures. Volunteer motivation was found to change with length of service. Initially volunteers were motivated by intrinsic motives, in particular subject interest, while extrinsic motives, particularly social opportunities motivated them to continue to volunteer. An Interaction Model of Volunteer Motivation was proposed as a means of understanding and identifying the role of social opportunities in motivating volunteers. In addition, volunteers within the heritage sector are typically older, retired individuals and the act of retirement was found to have a significant impact on their decision to volunteer. The significance volunteers attributed to their encounters with visitors reinforced the importance of social interaction in motivating front-of-house volunteers. Three models of encounters were proposed: the service encounter, the host-guest encounter and peer tutoring. The volunteer-visitor encounter was found to be a hybrid of the three models,with volunteers gammg enjoyable social interaction and visitors learning from the encounter.
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Hatton, Alf. "Strategic thinking in heritage with special reference to UK museums." Thesis, University of Strathclyde, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397952.
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Speakman, Lydia M. "The cultural construction of history in museums and heritage attractions." Thesis, Sheffield Hallam University, 1992. http://shura.shu.ac.uk/20390/.
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This study examines the role of the curator in the interpretation of history in museums and heritage attractions. The research uses data from twelve case studies collected from observation and interviews to examine the decision-making processes undertaken by curators in devising exhibitions and displays. The study examines the different interpretative opportunities available to the curator in determining their construction of history, in the selection of artefacts and the choice of historical interpretative approaches and interpretative techniques. The study demonstrates that the curator has to mediate his or her interpretative choices with a number of constraints. These constraints include the availability of artefacts, finance, the market, institutional structure and the ethics of the museum profession. In examining this decision-making process, the study argues that the construction of history in museums and heritage attractions represents a microcosm of the wider processes involved in the cultural construction of history. The study examines the role of history in society in upholding current beliefs and practices. Museums, as cultural institutions concerned with the past, are on the forefront of presenting society with its selective tradition, and as such are symbols of present values and attitudes. Curators, by virtue of their institutional role, are part of this wider cultural dynamic. Therefore their constructions of history in exhibitions, remain firmly within the current sociopolitical boundary, even though those constructions may also act to test and extend that same boundary.
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Hou, Yue. "An investigation into visitors' satisfaction with Port Elizabeth's heritage museums." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1250.
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Cultural and heritage tourism, one of the fastest growing segments of the tourism industry, is becoming a major pillar in the tourism strategy of many countries. Like elsewhere in the world, museums play a significant role in heritage tourism. South Africa has a rich history of intangible cultural heritage which manifests itself in oral history, traditional music and dance, social practices and indigenous knowledge systems. It is becoming more important for museum managers to identify the variables that will enhance the attraction and retention of museum visitors. The aim of the study was to determine tourists’ satisfaction with their visit to Port Elizabeth’s heritage museums by comparing their expectations and experiences. This could help museum marketers to better understand their customers, and design experiences that match their expectations. The literature review presented a brief overview of heritage tourism, the museum experience, and visitors’ satisfaction. Concepts of heritage tourism, functions of museums and the different museum attributes that might impact customer satisfaction were discussed. Literature on visitors’ satisfaction included descriptions of the expectations and approaches to measuring customer satisfaction. A museum satisfaction conceptual model resulted from these reviews. ii The proposed model was modified in the empirical study. The data were collected by means of a survey, using self-administered questionnaires distributed to visitors at three heritage museums in Port Elizabeth. Two hundred and twelve useable questionnaires were received. The empirical findings did not fully support the conceptual model. By conducting a factor analysis, the data was reduced to eight factors, namely, human interaction, physical evidence, facilities, facility quality, exhibition, edutainment, escape and aestheticism. It was found that the satisfaction mean scores were consistently higher than the expectation mean scores. This implies that museum visitors were satisfied with their experience of the three heritage museums in Port Elizabeth. Finally, the results of the paired sample t-test and regression analyses tested and explained formulated hypotheses. The principal recommendations emanating from this study are summarised in two groups, namely: • recommendations pertaining to the strategic implications of the findings in terms of service, facilities and experience. For example, the museum administration could establish more facilities for the disabled and the elderly, consider discounting and promotion programmes, and increase the use of technology in their displays. • recommendations for future research. For example, future studies could be applied to investigate visitors’ satisfaction with other heritage museums in South Africa.
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Kozak, Zenobia Rae. "Promoting the past, preserving the future : British university heritage collections and identity marketing /." St Andrews, 2008. http://hdl.handle.net/10023/408.
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Ajjo, Lilaf. "Modern Turkish National Identity in Museums : Representation Analysis in Istanbul Museums and Heritage Sector Between 2010-2020." Thesis, Uppsala universitet, Institutionen för ABM, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448669.
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The representation of national identity in museums of the 21st century´s diverse and multicultural societies is a challenging task. It is a task that involves questions of narrative and heritage inclusivity as well as questions of power and ideology. This thesis includes an investigation of the representation of the Turkish national identity in two state owned museums, one private museum and two contested heritage sites in Istanbul. Both contested sites were legally transformed from museums to mosques in 2020. The investigation also involves questions of power and legitimacy in the Turkish heritage sector in the past decade. Qualitative methods including observations, grounded theory initial coding, exhibition spatial syntax analysis and objects´ value analysis are used in the research. The analysis results revealed a fragmentation in the Turkish national identity representation and in the power structure of the Turkish heritage sector where different key actors are involved in national identity production and representation. The History narrative represented is linear and fragmented where each selected museum presents a different historical period with an emphasis on the multicultural nature of the region historically. Ideology and the heritage policy analysis has revealed that the Turkish heritage sector is heading towards an Ottoman based ideology instead of the secular Kemalism ideology that had built the modern Turkish national identity since the establishment of the republic in 1923. The results show that the challenge of representing inclusive and sustainable heritage and national identities in multicultural societies is complex. However, to achieve that, museums and heritage sectors would have to adopt policies of recognition and civil society involvement. The state would have to take an architect role by funding the museum and heritage sector without interfering in museum´s function. This is a two years master’s thesis in Museum and Cultural Heritage Studies.<br>Representationen av nationella identiteter i museerna av 2000-talets mångkulturella samhälle är en utmanande uppgift. En uppgift som involverar frågor om integration, nationellt kulturarv och narrative inkludering samt frågor om makt och ideologi. Denna uppsats omfattar en undersökning av den turkiska nationella identitetsrepresentationen i två statliga museer och ett privat museum samt två omtvistade kulturarv i Istanbul. De två omtvistade platserna omvandlandes från museer till moskéer år 2020. Undersökningen omfattar också frågor om makt och legitimitet inom den turkiska kulturarvssektorn med fokus på det senaste decenniet. Kvalitativa metoder inklusive observationer, grundad teorins kodning, rumslig syntaxanalys och objekts analys används i forskningen. Analysresultaten avslöjade fragmenteringen av den turkiska nationella identitetsrepresentationen och maktstrukturen i den turkiska kulturarvssektorn där olika nyckelaktörer är involverade i representationen och produktionen av det turkiska nationella identitet. Det historienarrative som är representerat är linjärt och fragmenterad där varje utvalt museum presenterar en specifik historisk period med fokus på regionens mångkulturella historia. Ideologi och kulturarvspolitikanalysen har avslöjat att den turkiska kulturarvssektorn är på väg mot en ottomansk baserad ideologi i stället för den sekulära Kemalism-ideologin som byggde den moderna turkiska nationella identiteten sedan republiken grundades år 1923. Resultaten visar att utmaningen att representera inkluderande och hållbara kulturarv och nationella identiteter i multikulturella samhällen är komplex. För att uppnå detta måste emellertid museer och kulturarvssektorer överväga erkännandepolitik samt civilsamhällets-engagemangspolitik och staten måste ta en arkitektroll genom att finansiera museets och kulturarvssektorn med ett armslängdavstånd. Detta är ett tvåårigt examensarbete i Musei- och kulturarvsvetenskap.
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Mew, Sophie. "Rethinking heritage and display in national museums in Ghana and Mali." Thesis, SOAS, University of London, 2012. http://eprints.soas.ac.uk/14700/.
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The research project explores the trajectories of cultural heritage institutions in Mali and Ghana and their relationships with their publics in a range of contexts. The principal case studies are the National Museums of Mali and Ghana. Following on from cabinets of curiosities and the formation of modern public museums in Europe, periods of intense salvage ethnography in West Africa in the early 20th century enriched collections in Europe and shaped the organisations of collections of the future national museums in post independent West Africa. Within the conceptual frameworks of the civilizing missions of museums, indigenous material culture was displayed and positioned within rapidly changing societies as testimonies of pre-colonial pasts, albeit framed by colonial assumptions and contingencies. These re-presentations of cultural heritage are one of the many legacies that continue to haunt the museums today in West Africa. I examine whether the institutions have emerged from their colonial foundations to occupy a space in local African discourses and to what extent they are indeed able to do so. Colonial legacies associated with these institutions have incited a re-evaluation of the roles of the museum as appropriate avenues for stimulating local cultural knowledge according to a closer association with local audiences' perceived needs. Interesting initiatives have been set up across Mali and Ghana to foster local participation. As part of these initiatives, attention has focused on some rejections of museums by local groupings. Conceptually in this thesis I consider the category of the non-visitor as a means to analyse this phenomenon. The initiatives also serve to explore tensions over the management of cultural heritage(s), state agencies and the economic pull of tourism in the realm of museums today. Within the wider contexts of transnational museums, the thesis concludes with concerns over existing concepts of a universal heritage, questioning to what extent access to world cultures is universal within the framework of museum settings in West Africa.
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Mason, Rhiannon. "Reading museums and heritage sites : towards a poststructuralist and postmodern museology." Thesis, Cardiff University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250514.
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Sambumbu, Sipokazi. "Making heritage in post-apartheid South Africa: Agencies, museums and sites." University of the Western Cape, 2017. http://hdl.handle.net/11394/5926.
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Philosophiae Doctor - PhD (History)<br>This work responds to the perceptions of post-apartheid heritage practices as producing an
authorised heritage discourse. It contrasts this perception by approaching the making of postapartheid
heritage as not just a simple discourse, but as a broad and complicated network of
many meanings, knowledges, practices and approaches. These are generated and
disseminated through multiple disciplinary and practice inputs and outputs, and at different
levels and scales.
This work approaches these multiple intersecting points of heritage production and
reproductions as an intricate network, within and through processes of heritage making can
be seen as productive and unproductive. The focus of this work is in these different facets
that emerge as different role players navigate through intricate negotiations of meanings and
knowledges about pasts and presents. In this thesis, these workings are repeatedly identified
through the term complex, which I use to mean complicated, intricate or convoluted. The
analysis applies the term differently from the theoretical concept of complex, which refers to
the making of public national citizenry through a power/knowledge, rather than power and
knowledge discourse.
This work therefore investigates the complicated workings of heritage by means of
legislation, the complicated heritage governance by a council and agency, and the workings
of heritage through equally complicated operations of museums and sites. The investigation
involves focused ethnographic studies of the operations of the South African Heritage
Resources Agency, National Heritage Council, Nelson Mandela Museum, Ncome Monument
and Museum Complex, Freedom Park, and Robben Island Museum.
While this work might be theoretically associated within Critical Heritage Studies,
especially its recent preoccupation with the notion of authorised heritage discourse, it is framed against this concept. It argues that post-apartheid heritage is produced through
intricate negotiations occurring within entanglements, rather than through simple a
hegemonic discourse. It also argues that making heritage in post-apartheid South Africa
occurs within a wide network of multiple practices and approaches, rather than along
streamlined, simple deployments of dominant meanings and knowledges.
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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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Anthropology<br>Ph.D.<br>"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.<br>Temple University--Theses
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Park, Yoon Ok Rosa. "Museums and cultural identity : a comparative study between Britain and Korea." Thesis, University of Newcastle Upon Tyne, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273480.
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Blanch, Bofi ll Maria Teresa. "La gestió dels museus i el patrimoni en les polítiques culturals a Catalunya (1980-2018)." Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/665944.
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La tesi “La gestió dels museus i el patrimoni en les polítiques culturals a Catalunya (1980-2018)” pretén reflexionar sobre quins poden ser els instruments més eficients per a la gestió dels museus i del patrimoni cultural des de les administracions públiques a Catalunya. Uns instruments que, a més del sempre necessari finançament i les orientacions de les polítiques culturals, facilitin trobar fonts complementàries d’ingressos davant d’uns recursos públics progressivament minvants. La tesi parteix de l’anàlisi de la gestió de la museologia tradicional fins arribar al de les noves museologies, en què el patrimoni és considerat com un recurs més de consum en el temps d’oci. En aquest sentit, s’emfatitza el model ecomuseu, basat en la mostra de la pluralitat de formes de vida tradicionals lligades al territori, el qual enllaça avui amb les idees del desenvolupament local sostenible, de la cerca de la qualitat de vida associada a una demanda creixent de preservació del medi natural i a la vinculació amb la participació activa de la població, mitjançant l’empoderament.
Des d’aquesta perspectiva, la gestió dels museus i el patrimoni cultural passa actualment per centrar-se en els conceptes de col·lectivitat i territorialitat, ressaltant el valor de document històric que tenen les peces i col·leccions museístiques per interpretar el context actual. Passa, també, per crear relats que obrin les portes d’accés al coneixement en un espai de pensament crític, que amb les seves capacitats i saber poden contribuir a fer una societat més justa i lliure. Els museus han de treballar per ser espais d’experiències, d’entreteniment, d’educació i de debat; constituint-se en veritables observatoris, que permetin gestionar la crítica i formes de reflexió que ajudin a desenvolupar noves recerques sobre la interacció entre patrimoni i societat. La tesi aborda, igualment, la situació dels museus en el marc de les polítiques culturals durant els darrers decennis a Catalunya, així com el tractament legislatiu que se n’ha fet, tenint en compte les competències assignades a les diferents administracions.
Amb les aportacions obtingudes, a partir d’entrevistes en profunditat a experts i professionals de la museística i de la gestió del patrimoni cultural, amb les extretes de grups de debat, dels quals he format part, i amb els contactes informals mantinguts durant diverses jornades especialitzades a què he assistit, la tesi ha estat en disposició de presentar un seguit de conclusions. Per arribar-hi ha estat important el seguiment de bibliografia i documentació especialitzada, però també ha estat cabdal la meva experiència professional en la gestió museística.
Les conclusions, entre les quals únicament subratllo aquí la creixent importància que s’estableix en la relació entre la gestió dels museus i del patrimoni cultural amb el sector turístic i els reptes que això planteja, es vinculen, com no podia ser d’una altra manera, a les hipòtesis establertes. Dites conclusions volen aportar elements significatius al debat sobre la gestió, avui, dels museus i del patrimoni cultural. I volen propiciar línies d’acció possibles per afrontar els problemes amb els quals s’enfronta la gestió del patrimoni cultural, en general, i la gestió museística de forma particularitzada.<br>The thesis “The museums and heritage management within the cultural policies in Catalonia (1980-2018)” aims to assess which instruments are the most efficient for the management of public administered museums and cultural heritage in Catalonia. Some instruments that, besides the required funding and the orientations of the cultural policies, help to find complementary income sources in a context of diminishing public funding. The thesis goes from the analysis of the traditional museology management until the new museologies, where the heritage is considered as another form for leisure purposes. This is why the ecomuseum model is emphasized. It is based in the diversity of the traditional lifestyles of the territory, which nowadays connect with the ideas of sustainable local development, the research of quality of life, associated with an increasing demand of the preservation of the natural environment and to the connection with the active involvement of the population, through the empowerment.
From this perspective, the modern management of the museums and the cultural heritage focuses on the ideas of collectivity and territoriality. It highlights the value of the artworks and the museum collections as historical documents to understand the present. It is also used to create stories that develop critical thought, and with that support the creation of a fairer and freer society. Museums have to work to be spaces of experience, of entertainment, of education and for debate. They need to become observatories, allowing the management of criticism and self-reflection, helping to develop new researches on the interaction between society and heritage. The thesis approaches the situation of the museums within the framework of cultural policies during the last decades in Catalonia, and also, their legislative treatment, considering the assigned competences of the different administrations.
The thesis and its conclusions draw on a range of sources including interviews with museology experts and cultural heritage management professionals, the participation in debate groups, and the meetings with specialists engaged with during various seminars. In order to support the conclusions, it has been important to use a specialised bibliography and documentation on museology management. My professional experience in museums management has also helped me to understand and analyse better the subject.
The conclusions include, but are not limited to, the increasing importance of the relations between the museum’s management, the cultural heritage policy, and the touristic sector, alongside the new challenges that this brings up. These are linked to previously established hypothesis. These conclusions intend to provide significant elements to the modern debate around the management of museums and of the cultural heritage. They seek to support potential actions aimed at dealing with the problems faced in the management of the cultural heritage, and museum management in particular.
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Kozak, Zenobia. "Promoting the past, preserving the future : British university heritage collections and identity marketing." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/408.
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Collections of tangible heritage and material culture found in university museums present both challenges and opportunities for their parent institutions. The identification and recognition of objects and collections of material ‘heritage’ proves difficult to universities, due to the formation and utilisation of their collections. Although each university possesses a history of varied content, length and significance, the rich heritage collections kept by universities remain undefined and largely unknown. This thesis addresses new and changing roles for university museums and collections, focusing on the issues surrounding heritage. What purpose does an institutional collection of academic heritage serve beyond preserving or representing the history of a university? Using data collected during the field research programme and two case studies (University of St Andrews and University of Liverpool) the thesis explores the definition and role of heritage in the university. Through the exploration of these topics, the thesis provides a new model for university collecting institutions based on the concept of ‘university heritage’ and ‘institutional identity’, encompassing collections ranging from subject-specific departmental teaching collections to commemorative collections of fine art. By utilising these once undefined and underappreciated collections, universities can use the heritage objects and material culture representative of their academic history and traditions as institutional promotion to potential students, staff and funding bodies.
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Chiu, Sai-chung Cary. "Redevelopment of San Wai." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944976.
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Jessiman, Stacey Rae. "Understanding and resolving cultural heritage repatriation disputes between indigenous peoples and museums." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51635.
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Disputes between Indigenous peoples and Western museums over repatriation of cultural heritage involve numerous complex issues -- legal, ethical, historical, cultural, spiritual, political and economic, among others – that necessitate a particularly thoughtful approach to resolving such disputes. Resolution of such disputes by negotiation or other alternative dispute resolution (“ADR”) processes should not involve simply finding quick, theoretically “win-win” solutions such as replicas or loans. Because these disputes often involve complex issues such as traumatic colonial injustices and profound differences in cultural values and dispute resolution paradigms, the dispute resolution process must involve a period of exploration and acknowledgement of such issues and differences by the parties, which I term “Relationship Building”, as a necessary precursor to any stage of problem-solving. By analysing the negotiations between various Western museums and the Kwakwaka’wakw and Haisla First Nations of British Columbia, Canada over the repatriation of cultural objects removed from their traditional territories by colonial forces in the early 20th century, this thesis seeks to demonstrate how engaging in a stage of Relationship Building early in the negotiation process is key to ensuring the parties understand their dispute holistically and experience a constructive, not destructive, process and outcome.<br>Law, Faculty of<br>Graduate
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Strydom, Carlyn. "The role of national museums in South Africa: A critical investigation into Iziko Museums of South Africa focusing on the representation of slavery." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/27288.
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This thesis is concerned with the ways in which museums have been used as vehicles to convey notions of the nation. It looks specifically at the Iziko Museums of South Africa's social history sites that deal with the subject of slavery. It is concerned with the absence of a narrative of slavery at Iziko museums before the demise of Apartheid and looks the historical and socio-political changes that lead to its emergence in South African historical consciousness. It is a study of the history of museums as well as the ways in which history has been used in museums. It looks at the ways Iziko, as a national museum, has guarded and promoted ideas of the nation as decided by the state. The thesis examines with the ways in which the museum has transformed since its inception in the colonial period up to the present day. The time period investigated is 1855 to 2016. Guiding questions for the thesis are: for what purpose were museums created in South Africa; what are the implications of colonial practice on the ways in which they functioned; why has the history of slavery has been disavowed in South African historical consciousness; what led to the rise of the study of slavery in South Africa; what has the emergence of the new museology meant for museum practice; how have heritage studies transformed the South African historical landscape. The thesis begins with a theoretical literature overview of museums more generally and its links with power and representation and the colonial regime. It then moves on to investigate the origin and history of Iziko museums by working through published literature on the subject, unpublished materials, other institutional materials found in the Iziko archive and interviews conducted with past and current employees. It then looks takes an historical survey of South African historiography and its exclusion of the history of slavery and later the emergence of such a narrative. Lastly it looks at how the nation has been narrated by the state after Apartheid and how the museum responded to the new dispensation. The thesis concludes that Iziko museums have transformed over the last two centuries in terms of the subject matter it studies. Museological activity has been diversified to include a range of subjects hitherto ignored in South African public consciousness due to the legacy of both colonialism and Apartheid. Most importantly it shows that the museum has continually responded to concepts of the South African nation and that national museums are inextricably tied to the nation-state.
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Kazalarska, Svetla Iliaeva. "'Dark Tourism': Reducing Dissonance in the Interpretation of Atrocity at Selected Museums in Washington, D.C." Thesis, Department of Tourism and Hospitality Management, George Washington University, 2003. http://hdl.handle.net/1961/117.
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Degree awarded (2003): MA, Department of Tourism and Hospitality Management, George Washington University<br>This thesis focuses on the issue of dissonance in the interpretation of atrocity at museums and other cultural heritage sites. The existing debates in the field are outlined in an extensive literature review encompassing general and specific references. The basic conceptual framework of the dark tourism phenomenon is elaborated through case studies in Washington D.C., illustrating the variety of interpretative dilemmas faced by museum directors and curators. The cases include the permanent exhibition at the U.S. Holocaust Memorial Museum, the Enola Gay exhibition at the National Air and Space Museum, and the National Museum of the American Indian on the Mall. The identified controversies are analyzed, and recommendations for mitigating existing conflicts and suggestions for future research are offered.<br>Advisory Committee: Prof. Donald E. Hawkins (Chair)
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Ramos, Ricardo Jorge de Brito. "Reabilitação de edifícios industriais como Museu. Museu do Fado, Fundação Arpad Azenes-Vieira, Museu de Oriente." Master's thesis, Faculdade de Arquitectura de Lisboa, 2011. http://hdl.handle.net/10400.5/3937.
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Tese de Mestrado em Arquitectura com a especialização em Reabilitação da Arquitectura e dos Núcleos Urbanos.<br>O objectivo da investigação é a definição de uma estratégia de intervenção no Bairro Padre Cruz através da proposta de um novo modelo de quarteirão reinterpretado e subordinado às necessidades da ecologia e da sustentabilidade desde a escala urbana à escala do edifício. O conceito de ReUrbanizar passa pelo conceito de bairro, que se apresenta aqui como uma unidade de gestão e planeamento territorial capaz de garantir sistemas auto-suficientes (ao nível das necessidades sociais, económicas, ambientais e técnicas), e, portanto pela necessidade de satisfazer as carências observadas num território que se diz urbano por se encontrar geograficamente dentro de uma área urbana porém com um excessivo défice de qualidade de vida e de satisfação de necessidades desde acessibilidade a infra-estruturas passando por questões sociais. Este processo de ReUrbanização desenvolve-se então a diversas escalas, desde a escala da cidade à escala da habitação passando pela escala do quarteirão. O quarteirão surge, no plano de ReUrbanização do Bairro Padre Cruz como a parte mínima identificável à escala do bairro e da própria estrutura urbana, não só resultado das regras geométricas utilizadas no ordenamento do território no traçado de vias mas como elemento morfológico base por repetição e multiplicação. O quarteirão toma a posição de unidade autónoma e independente e, por isso, auto suficiente, na medida em que agrega e organiza os outros elementos da estrutura urbana, a rua, o edifício (de uso misto), o espaço público e o espaço privado de uso colectivo, numa lógica de unidade de vizinhança<br>Abstract - The aim of this investigation is the definition of an intervention strategy in the Padre Cruz neighborhood by proposing a new model of block reinterpreted and subordinated to the needs of ecology and sustainability since the urban scale to the scale of the building. The concept of ReUrbanize through the concept of neighborhood, presented here as a unit of territorial planning and management systems capable of being self-sufficient (in terms of social, economic, environmental and technical needs) and, therefore the need to meet the needs observed in an area that is said for being geographically within an urban area but with an excessive deficit in quality of life and satisfaction of needs, from accessibility to infrastructure spending in social issues. This process of ReUrbanization is developed then the various scales, from city scale through the block scale. The block appears in the ReUrbanization plan of Padre Cruz neighborhood as part of the scale of the minimum share neighborhood identifiable and the urban structure itself, not just a result of the geometrical rules used in planning the layout of roads but as basic morphological element by repetition and multiplication. The block takes the position of separate and independent unit and, therefore, self-contained, in that aggregates and organizes the other elements of urban structure, the street, the building (mixed use), public space and private space of collective use, in a logical of unit neighborhood.
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Hervías, Beorlegui Juan José. "Interpretación del Patrimonio a través del Análisis de las Técnicas utilizadas en el Museo de Jamtli." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/400093.
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Hoy en día la cultura supone uno de los pilares que sustentan gran parte de la economía de muchos países, entre los que se encuentra, indudablemente, España. Las repercusiones que tiene el turismo en las arcas del país son inestimables. En este contexto, los museos, son a menudo el motivo que incita, en primer lugar, el propio viaje en sí mismo. Muchas de las instituciones culturales actuales se han convertido en verdaderas mecas de peregrinación dentro de la “vida religiosa” del turista, un lugar imprescindible que tachar en el pasaporte del buen viajero, transformándose en auténticos devoradores de museos o sitios turísticos estrella de forzosa visita.
No obstante, estas instituciones museísticas, no siempre usan todas las herramientas comunicativas que tienen a su alcance para poder transmitir de manera efectiva su mensaje que y proporcione una experiencia diferente y única al visitante que entra en contacto con el patrimonio que custodia la institución. En el marco de la gestión de nuestra cultura, tenemos la impresión, de que prima más la idea de realizar museos colosales o exposiciones espléndidas antes que el hecho de comunicar una serie de mensajes a los visitantes. Muchos de ellos no analizan posteriormente qué mensajes han llegado al público, o si estos han sido comprendidos o incorporados como nuevo conocimiento. La auténtica función del museo para con su público, hoy en día, debería ser el removerles la conciencia, el provocarles ideas y planteamientos nuevos, crearles interrogantes, dudas, preguntas…en suma, seducirles con su patrimonio cultural.
La disciplina de la interpretación del patrimonio aplica una serie de técnicas comunicativas para transmitir de manera efectiva los valores del patrimonio. En el ámbito del patrimonio natural ha demostrado su utilidad a la hora de influir positivamente en el alcance didáctico que la visita tiene el público, y en la creación de una conciencia patrimonial mayor.
Así pues, nos planteamos la posibilidad de importar estas técnicas interpretativas al ámbito museístico. Para ello se ha procedido al análisis del museo de Jamtli situado en la ciudad sueca de Östersund. Este museo es el hermano pequeño del pionero museo de Skansen en Estocolmo. Ambos han introducido en sus respectivas políticas de mediación técnicas procedentes de la interpretación para crear un discurso bidireccional entre público y patrimonio orquestado por el museo.
Decidimos realizar un trabajo de campo en el museo de Jamtli mediante, principalmente, unas encuestas realizadas a los visitantes que pretendían comprobar el alcance didáctico de estas acciones interpretativas en museos.
Esta nos ha permitido abrir nuevas líneas de investigaciones futuras que pretenden explorar la hipotética implementación de las técnicas de la interpretación del patrimonio, en los llamados museos estrella que son los que más repercusión social tienen en nuestra comunidad. Los resultados obtenidos ambicionan ser el punto de partida para otros estudios ulteriores que permitan generalizar los resultados hallados en esta presente tesis doctoral.<br>Nowadays culture represents one of the pillars that support much of the economy of many countries, among which one is, undoubtedly, Spain. The impact of the tourism in these countries´ is invaluable. In this context, museums are often the reason that prompt the journey itself. Many of today´s cultural institutions have become true sites of pilgrimage within the “religious life” of tourists, an essential place for all travelers to quench their thirst for culture.
However, these museums institutions do not always use all communications tools at their disposal to effectively convey their message and provide a different and unique experience to the visitor who comes into contact with the heritage that the institution guards. The management of our culture, which is building colossal blockbuster museums today, seems to have forgotten to communicate a relevant message to the visitor instead
Many of them tend to forget to analyze later on whether the messages have been intercepted by or even incorporated in the vistors´minds and knowledge The real function of the museum to its visitors today should be provoke thoughts and ideas that lead to a new way of thinking, in short, seduce them with their own cultural heritage.
The science of heritage interpretation applies a number of communication methods to effectively transmit the values of cultural heritage. In the field of environmental heritage or nature heritage, it has proved very useful in visitors´ learning and in creating a greater heritage consciousness.
Thus, we considered the possibility of importing these interpretive techniques in the museum field. For this, the Jamtli Museum (located in the Swedish town of Östersund) has been analyzed. This museum is Skansen´s little brother (the museum located in Stockholm, pioneer in many key aspects). Both have introduced, in their respective policies, techniques from the heritage interpretation to create a two-way discourse between public and heritage.
We decided to conduct a field research at the Jamtli Museum by doing visitor surveys that wanted to check the teaching effectiveness of these methods at the museum. This has allowed us to open new lines of future research that will intend to explore the hypothetical implementation of techniques from the heritage interpretation, in the so-
called “star museums” that have the most social impact on our community. The results aspire to be the starting point for further studies that allow us to generalize the results found in this present dissertation.
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Noussia, Julia Antonia. "Constructing spaces, representing places : a comparative analysis of open air museums in England." Thesis, University College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264662.
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Webber, Susan, and n/a. "House museums as sites of memory." University of Canberra. Built & Cultural Environment, 2005. http://erl.canberra.edu.au./public/adt-AUC20080925.100449.
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Houses and the objects within them stand as tangible symbols of human memory. Some
memories are created unconsciously in day-to-day living; others are consciously attached
to objects that are cherished as symbols of other places, relatives and friends. Memories
may seem to be lost until they are rediscovered in moment of involuntary recall, triggered
by an object, a smell or taste.
The purpose of this research project is to investigate the memory experiences of
visitors to a house museum; what they do with those experiences and how important they
are to them.
Forty adult visitors to Calthorpes' House in the ACT were interviewed using the
focused interview technique with a framework of questions that allowed for a
conversational style and additional questions. The interviews were recorded and later
transcribed.
The results showed that all visitors reported experiencing memories during their
visit to Calthorpes' House. Many people found those experiences enjoyable and wanted
to share them with others.
These findings are important because they can inform the set-up, interpretation
and publicity of house museums in ways which will attract new visitors and help to
engage with visitors' interests when they visit house museums.
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Saleem, Rabiah. "Preservation of Heritage Sites through Virtual Museums : User Study of Stonehenge Virtual Tour." Thesis, Uppsala universitet, Människa-datorinteraktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-356063.
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Seabra, Elizabeth Aparecida Duque 1968. "Visitas de estudantes a museus : formação histórica, patrimônio e memória." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/250961.
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Orientador: Ernesta Zamboni<br>Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação<br>Made available in DSpace on 2018-08-20T19:26:52Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: O objetivo central da tese é analisar em que medida práticas escolares de visitas a museus podem romper com os saberes disciplinares e pedagógicos incidindo diretamente sobre a produção de um conhecimento experiencial a ser mobilizado no ensino de história. Do ponto de vista teórico, a pesquisa toma a ideia de visitante como um espectador emancipado (RANCIÈRE, 2010) e a produção da cultura como um modo de vida comum perpassada pelas idéias e práticas sociais (WILLIAMS, 1969 e 1979). Do ponto de vista empírico, investiga-se como um grupo de estudantes de Licenciatura em História em situações educativas de visita constroem sentidos diversos para o patrimônio, para o ensino de história e a para a memória cultural. Destacam-se, em especial, as práticas vivenciadas pelos visitantes no Museu do Escravo de Belo Vale (MG) e no Museu Histórico Nacional, no Rio de Janeiro.<br>Abstract: The main objective of this thesis is to analyze the extent in that school field trips to museums can modify established disciplinary and pedagogical knowledge and directly influence the production of knowledge from experience to be mobilized for the teaching of history From the theoretical viewpoint, this study considers the visitor as an emancipated spectator (RANCIÈRE, 2010) and the production of culture as a common way of life and determined by the social ideas and practices (WILLIAMS, 1969 and 1979). From the empirical viewpoint, we investigated the way how history licensure students construct various meanings to the heritage in field trips for the teaching of history and the cultural memory.The practices experienced by the visitors to the Slave Museum in Belo Vale, State of Minas Gerais, and the National History Museum in Rio de Janeiro, state of Rio de Janeiro are given special emphasis.<br>Doutorado<br>Educação, Conhecimento, Linguagem e Arte<br>Doutor em Educação
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Silva, Abrahão Sanderson Nunes Fernandes da. "Musealização da arqueologia: diagnóstico do patrimônio arqueológico em museus potiguares." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-11042008-103734/.
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A formação de coleções museológicas no Brasil remonta ao século XIX, período de estabelecimento dos primeiros museus brasileiros. Na gênese destes museus encontra-se também a origem institucional da Arqueologia Brasileira, isto significa também dizer que desde esta época, em meio às coleções formadas no país constam aquelas compostas essencialmente por artefatos arqueológicos. As coleções arqueológicas quando inseridas no contexto dos acervos museológicos se mostram pouco articuladas com outros conjuntos patrimoniais, o que revela então camadas de relações que foram estabelecidas para com estes artefatos e evidencia um processo que destaca o isolamento e o esquecimento dos objetos arqueológicos enquanto elementos constituintes das memórias locais, regionais ou nacionais. Esta "estratigrafia do abandono" é observada no Rio Grande do Norte a partir das relações estabelecidas para com os acervos arqueológicos nos museus Câmara Cascudo, Lauro da Escóssia, Museu do Seridó, Museu do Sertanejo e Museu de Soledade. Assim, estudando realidades institucionais distintas, se busca contribuir para a percepção não só do potencial informativo (arqueológico ou histórico-cultural) e comunicativo (educação e relação com as identidades) das coleções arqueológicas potiguares, mas também para evidenciar a maneira como este campo do patrimônio cultural brasileiro tem sido abordado em terras norte-riograndenses.<br>The museums collections formation at Brazil its source in the 19th century, when to appeared first brazilian museums. In the origin these museums it's also institutional origin brasilian archaeology, at this moment it's were formed archaeological collections. The archaeological collections not articulate with the others heritages, the archaeological objects it's isolated and forgotten. The archaeological workmanships it's don't do local memories, or national memories. This "stratigraphy of the abandonment" it's observed in Rio Grande do Norte, from this relations with archaeological collections at the museums Câmara Cascudo, Lauro da Escóssia, Seridó, Sertanejo and Soledade. The objective to the researching about institutional realities different is to contribute for the perception not only of the informative potential (archeological or historical-cultural) and communicative (education and relationship with the identities) of the archeological collections potiguares, but also to evidence the way as this bazilian cultural heritage it has been approached in Rio Grande do Norte.
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Chalfen, Joel. "Performances of conscience at three historic site museums." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/performances-of-conscience-at-three-historic-site-museums(892a20bb-185d-43e6-b625-1483549c44f4).html.
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The International Coalition of Historic Site Museums of Conscience contributes to current debate about the role that heritage institutions can play as agents for social change. In particular, it proposes historic sites as key venues where dialogue about contemporary human rights issues can take place and help contribute to building stronger democracies, connecting past to present. On the one hand, this raises questions about the activation of competing interpretations of the past to create a critical civic culture. On the other hand, the project of the 'Site of Conscience' asks questions about what there is in the nature of visiting historic site museums that might particularly lend itself to creating an active citizenry. Focusing on the latter of these two concerns, the thesis uses theatre and performance as a conceptual framework for understanding the controls and possibilities of a creative and empowering participation for public visitors at three of the Coalition's member sites: the Lower East Side Tenement Museum, USA; The Workhouse, UK; and The Gulag Museum at Perm-36, Russia. Through reading performance into the visiting event, the thesis is able to respond to questions about how visitors negotiate the museum's project to relate past to present with their own interests in visiting the past, not as a matter of competing narratives but of competing modes of encounter. How people experience their visit is foregrounded as a condition of political engagement.The question then asked is how this negotiation of modes of encounter becomes a performance of the Site of Conscience and the effective achievement of the museum's social agency. The thesis focuses on the uncertainties and gaps that emerge out of the intervening presence of a museum interpreting an historic site. In these circumstances, how control over the making of the visiting event is distributed becomes critical to its transformative potential. The thesis therefore asks about how visitor experiences of these uncertainties and differences become a negotiation of authority to represent the past and hence, how the past emerges in the present.
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Pruitt, John. "British drama museums : history, heritage, and nation in collections of dramatic literature, 1647-1814 /." View abstract, 2005. http://wwwlib.umi.com/dissertations/fullcit/3203336.
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Ching, Ka-wai Elsa. "Guangdong music, Guangdong cuisine, Guangdong art ... a living Guangdong heritage community in old urban Sheung Wan /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947011.
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Innocenti, Perla. "From cultural heritage to cultural heritage informatics : critically investigating institutions, processes and artefacts." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4658/.
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Background and rationale: Collecting is a basic human activity, a cultural phenomenon establishing cultural values, defining authenticity and creating new identities for collected objects and collectors. For more than a decade, I have studied cultural heritage collections from three key interwoven perspectives. These approaches are evident in the six publications selected for this submission: • Architectural and organisational perspective: at the Vatican Gallery (Innocenti 2001a), Uffizi (Innocenti 2003a) and Biblioteca Laurenziana (Innocenti 2002a) I investigated institutional collector and key stakeholder strategies for designing collection space and displays. I then applied this analysis to‘knowledge architecture’ for industrial design artefacts and processes (Innocenti 2004c). • Procedural and functional perspective: from Palladio drawings (Innocenti 2005a) to industrial design knowledge bases (Innocenti 2004a), I investigated how to digitize, archive, render and make accessible cultural heritage as an accurate iconic representation, interwoven with documentary and cultural contexts. The work further led me to study the authenticity of born-digital artworks (Innocenti 2012c). • Artefact perspective: I explored how artists and institutional collectors address the preservation of artworks, from the Renaissance desks of the Biblioteca Laurenziana (Innocenti 2002a) to digital artworks (Innocenti 2012c), and the historical and theoretical implications of their choices. In each of these areas, I contextualized the interrelations between cultural heritage discourse and the history of collecting cultural artefacts within given historical, social and cultural periods. My work began in Italy, where cultural heritage is deeply rooted and widespread, and moved on to encompass Europe and North America in tracing the evolution of cultural heritage collectors’ strategies. I adopted an interdisciplinary approach, engaging perspectives, methods and theoretical frameworks from art history, art theory, museography, museology, library and information science, information technology, social anthropology and engineering. Starting from this multi-focal vantage point my research has resulted in contributions to knowledge, methods and theory. These publications on one hand demonstrate the continuum of key issues in cultural heritage creation, preservation and access as manifested in the strategies of institutional collectors and artists. On the other hand, they highlight the new paradigms and transformations introduced by digital and communication technologies, the shaping of cultural heritage informatics to address these transformations and the theoretical and methodological implications underlying them. Through my scholarly research, I contributed to progressing the canonical historicisation of cultural heritage, museography and museology, and to exploring the new paradigms and transformations introduced by digital and communication technologies to the disruptive and exciting world of cultural heritage informatics. The portfolio: The portfolio is a selection from Perla Innocenti’s more than forty publications of research carried out since 2001 on cultural heritage and informatics with the Universitá degli Studi di Roma ‘La Sapienza’, Scuola Normale Superiore di Pisa, Istituto Nazionale di Archeologia e Storia dell’Arte in Rome, Pinacoteca Nazionale di Bologna, Italian Ministry of Cultural Heritage and Fondazione Andrea Palladio, Politecnico di Milano and EU-funded projects SHAMAN and MeLa. Six scientific publications are presented: two journal articles, a scholarly treatise, a published conference paper, key chapters from a monograph and one book chapter from an edited volume. The works have two key themes relevant to the critical analysis and understanding of heritage institutions’ evolution up to the digital age. The themes illustrate the contribution each publication has made to the literature and explain the relationship between the works submitted, including developments which have occurred between one piece and another. Theme I: Evolution of museography, museology and heritage studies Three publications are presented under this theme, each of these presenting the critical analysis of cultural heritage institutions and their artefacts within the historical evolution of museums and libraries. Publication I presents the critical analysis of the museographic principles applied by Luca Beltrami to the design of the Vatican Gallery, investigated and contextualised within its museographical and cultural history (Innocenti 2001a). Publication II presents the critical analysis and findings of the museological and museographical principles applied by Corrado Ricci to the Uffizi Gallery in the 19th Century, compared with the contemporary principles in the Uffizi applied by the former Superintendent and Italian Ministry Antonio Paolucci (Innocenti 2003a). Publication III presents the analysis and original findings of Michelangelo’s ergonomic design of the Biblioteca Laurenziana fittings, within the historical evolution of libraries (Innocenti 2002a). Theme II: Creating, managing, disseminating and preserving digital cultural heritage The publications presented in this theme relate to methodologies and processes characterising diverse typologies of analogue and digital cultural heritage and the emerging field of cultural informatics. Publication IV presents the novel methodological approach defined and applied within a relevant digitization project of Andrea Palladio manuscripts and maps (Innocenti 2005a). Publication V presents the outcomes of my investigation defining and implementing an online knowledge-based system supporting research and teaching of industrial design, which is formally considered part of Italian cultural heritage (Innocenti 2004a). Publication VI discusses the repositioning of traditional conservation concepts of historicity, authenticity and versioning in relation to born-digital artworks, based on findings from my research on preservation of computer-based artefacts by public collectors (Innocenti 2012a).
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Merriman, N. J. "The role of the past in contemporary Britain, with special reference to archaeology and museums." Thesis, University of Cambridge, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234954.
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The thesis explores ways in which public presentations of history and archaeology might be enjoyed by a wider audience than they are at present. Particular emphasis is placed on understanding cultural barriers that deter certain groups who are otherwise interested in the past. In order to do this it is necessary to understand the role of the past and of institutions such as museums in contemporary culture. A survey representative of all adults shows that, rather than being a commodity as some claim, the past is used in many different ways as a discourse about the present. In addition, claims that presentations of the past act as agents of the dominant ideology are unfounded because 'the dominated' tend not to go to them. As they have not been socialized into the 'code' of museum-visiting, they find the museum's image intimidating and exclude themselves. Archaeology itself suffers from an outdated and unclear image. Archaeological societies, like museums, are participated in predominantly by the better-educated and the affluent. Fieldwork is carried out by a wider range of people, but is perceived by the public to be in the same category as treasure-hunting. This is partly due to archaeology's image, and partly to the exclusion of amateurs from excavations. A study is then made of ways in which people who tend not to go to museums or participate in archaeology do gain their sense of the past, in order to discover ways in which these deterrents might be removed. It is found that most past-related activities are done by active heritage visitors. Those who tend not to participate in them gain their sense of the past in less tangible ways, through memories, family history and attachment to place. In conclusion, two different ways of experiencing the past are isolated, personal, and non-personal or 'heritage'. Participation in the latter is dominated by the better-educated and the affluent, who adopt it as part of a cultured lifestyle appropriate to their social position. Museum-visiting and membership of archaeological societies is emblematic of affiliation to this group. It will therefore not be possible for museums or societies to attract a totally representative audience. Museums are relatively 'open' institutions, however, so it will be possible to widen participation even further, and ways of achieving this are suggested.
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Eze-Uzomaka, Pamela Ifeoma. "Archaeology and the public in Nigeria." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339931.
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Cunnell, Deborah Ann. "Quality appraisal at Scottish and international museums and heritage attractions : a basis in consumer experience." Thesis, Open University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272892.
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Rhodes, Mark A. II. "The Memory Work of Welsh Heritage: Multidimensional landscapes of a multinational Wales." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1555693473757734.
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Bull, Nicola Lucy. "Face to face with the Lewis Chessmen : an exploration of children's engagement with material heritage at the National Museum of Scotland." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/15860.
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Museums can be productive sites for the study of society, because they are spaces where the constitution of knowledge about the past is made visible through public display. Playing an important role in the performance and legitimisation of national culture, museums in Scotland pay particular attention to the education of children. It is often claimed that children can gain an understanding of their history through physical engagement with museum collections. Both the ‘past’ and the ‘future’ are thus constituted within the museum. Through an exploration of children’s education at the National Museum of Scotland and The Lewis Chessmen: Unmasked touring exhibition, I argue that efforts by museums to exert control over ongoing processes through which subjects and objects, past and future, nations and heritage are constituted can be deeply challenged by children and museum objects, both of whose status remain inherently dynamic and unstable. Despite the museum’s claims to have “real things [objects] revealing stories”, objects rarely reveal narratives beyond those exerted upon them. They are, instead, materially and relationally constituted in particular places, at particular times. The same ‘instability’ applies to children visiting the museum. Children engage with the material stuff of the museum in surprising and unpredictable ways. This dynamic, multisensory interaction enables children to pursue personal projects, which do not necessarily adhere to the agendas of the museum. Yet, children often do go along with the museum’s narratives, commonly accepting what they are told by adults about the objects they are handling. They are also deeply concerned with the authenticity of these objects. Whether an objects is ‘real’ or not, however, is not necessarily judged by the same standards shared with the museum. Children’s awareness of a ‘real’ object’s metonymical presence not only enables an experiential encounter with the past, but also enables them to work out their own positions within the power structures of the museum; testing their own concerns relating to trust, truth, value and the process of becoming adults.
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Archibald, Samantha L., and University of Lethbridge Faculty of Arts and Science. "Contested heritage : an analysis of the discourse on The spirit sings." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science , 1995, 1995. http://hdl.handle.net/10133/27.
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This thesis contributes to the knowledge of museology, anthropology and Native American studies. It is an analysis of the discourse that surrounded The Spirit Sings: Artistic Traditions of Canada's First Peoples, an exhibition prepared by the Glenbow in Calgary as the 'flagship' of the Olympic Arts Festival in 1988. After the Lubicon Indians of Northern Alberta called for a boycott of The Spirit Sings, in attempt to draw critical attention to their long outstanding lands claim, a large and heated debate ensued involving several disciplines, particularly anthropology and museology. Much of this debate took place in the print media, therefore a large body of material remains to be reviewed and studied. The intent of this thesis is to illustrate that the issue of museological representation of First Nations was one of the most central themes discussed in the discourse, but to argue that the major players dealt with this issue on only the most concrete level and therefore largely neglected to recognize that the issue of First Nation's representation was not just a concern over museum interpretation but more importantly an issue of the contested authenticity of national and cultural claims.<br>vi, 335 p. ; 29 cm.
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Kadi, Palesa. "The Group Areas Act and Port Elizabeth's heritage: a study of memorial recollection in the South End Museum." Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_7483_1256910297.
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<p>The second half of the 1990's was marked by a significant reworking of memory and history in South Africa. WHilst the Truth and Reconciliation Commission (TRC) was involved in its hearings on amnesty applications and gross human rights violations, new museums were emerging and older ones began reshaping their displays. This thesis interrogated the changing representations of history, culture, identity and heritage in one South African city, Port Elizabeth, which in 2005 was re-named the Nelson Mandela Bay Municipal area. This discussion examined, at times, the historical era prior to South Africa's democracy and the period after the first democratic elections of 27 April 1994.</p>
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Oliveira, Ana Laura Ferrer de. "Novos usos para o património industrial. O caso da Cordoaria Nacional." Master's thesis, Faculdade de Arquitetura de Lisboa, 2012. http://hdl.handle.net/10400.5/5782.
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Dawley, Martina Michelle. "An Analysis of Diversifying Museums: American Indians in Conservation." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311567.
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An investigation was conducted to show the number of American Indians in the field of conservation, through a quantitative and qualitative analysis. The research investigated the primary question, why are there so few American Indian conservators. In addition, the following secondary questions were examined: 1) How many conservators of American Indian ethnicity are there? 2) What factors influence the number of American Indian conservators? 3) How will American Indians qualified to practice conservation benefit museums? The findings for this study were collected through an online survey, personal interviews, and observations. The results showed that there was a significant relationship between education, conservation, and being American Indian. The study proved the hypothesis that there were not a lot of American Indian conservators. An earlier report investigating the status of American Indians in professional positions in museums nationwide revealed similar results (Rios-Bustamante, 1996). Other publications mentioned Indigenous people as collaborators and participants in various museum practices such as curatorial work, preservation, conservation, and exhibits; but did not specifically name an American Indian as a professional conservator (Bloomfield, 2013; Clavir, 2002; Erickson, 2002; Lonetree, 2012; Odegaard and Sadongei, 2005).A total of eleven participants were interviewed. Of the eleven participants interviewed, nine identified as American Indian from the United States, one identified as Maori from New Zealand working temporarily in the United States, and one as Italian-American (Table 13). Of the eleven interviewed, three identified as trained conservators qualified to practice conservation as a professional conservator. Of the three identifying at trained conservators, two were American Indian, Navajo/Assiniboine and Navajo. A total of ninety-three participants responded to the online survey. Univariate analysis using the standard t-test was used to compare each variable to the dependent, binomial variable (variable of interest=American Indian Conservator, yes or no) to determine its initial significance (Table 12). Significant variables were then added into the model and logistic regression analysis was performed to capture any effect a variable might have on the dependent variable. As a result, the data showed that a conservator was 8.6 times more likely not to be American Indian than conservators who were not American Indian in this study. This analysis and interpretation of the data was used as a preliminary study for future research.
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Carvalho, Ana Alexandra Rodrigues. "Diversidade cultural e museus no séc. XXI: o emergir de novos paradigmas." Doctoral thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/20830.
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Este estudo estabelece uma análise comparativa entre três museus com colecções etnográficas: dois museus no contexto internacional: o Museum of World Culture, em Gotemburgo, e o World Museum Liverpool, e, em Portugal, o Museu Nacional de Etnologia. Na era da globalização, o multiculturalismo e a preservação da diversidade cultural representam novos desafios para os museus, em particular para os etnográficos. Não se trata só de conhecer o “Outro”, que está no centro dos museus tradicionais, mas de uma nova perspectiva sobre a diversidade, que se desenvolve também nas nossas sociedades, com as comunidades de imigrantes, que implica que o “Outro” ou “Outros” passaram a fazer parte de “nós”. Diante da emergência de novos paradigmas, este estudo procura reflectir sobre os desafios contemporâneos de uma museologia mais representativa, inclusiva e participativa. Com base na investigação realizada, concluiu-se que, pese embora as diferenças de percurso e de contexto institucional e as diferentes circunstâncias nas quais se enquadram, os três museus reconhecem a alteração do seu papel em função das mudanças sociodemográficas das sociedades em que estão inseridos, todavia, as respostas são variáveis quanto à sua operacionalização nas práticas museológicas; ABSTRACT: This study establishes a comparative analysis between three museums with ethnographic collections: two of these museums are in the international museum scene (Museum of World Culture, in Gothenburg, and the World Museum Liverpool) and one museum in Lisbon, the National Museum of Ethnology. With globalization, multiculturalism and the preservation of cultural diversity represents new challenges for museums, especially ethnographic museums. It’s not just about knowing the “other”, which is at the center of traditional museums, it’s about a new perspective about diversity, which is being developed in our societies with the immigrant communities, meaning that the “other” is now part of “us”. Taking in consideration the emerging of new paradigms, this study reflects on the contemporary challenges of a more representative, inclusive and participatory museology. This research revealed that in spite of the differences between the case studies, the three museums recognized that their role is challenged by sociodemographic changes within the societies they operate, however different perspectives are developed.
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Ching, Ka-wai Elsa, and 程嘉慧. "Guangdong music, Guangdong cuisine, Guangdong art......a living Guangdong heritage community in old urban Sheung Wan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986365.
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Julig, Patrick. "Archaeological Theme Parks, Public Archaeology, and Living Museums: Prospects for the Upper Great Lakes Region." Laurentian University Press, Sudbury, Ontario, 1999. https://zone.biblio.laurentian.ca/dspace/handle/10219/161.
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The development and management of heritage sites, including prehistorical and historical archaeological sites, trading posts and aboriginal traditional-use sites, is of interest to governments for their potential in the fields of tourism, youth employment and economic development. In Canada, the issues of rights, ownership and management decisions for such sites are still in contention as multiple cultures (Aboriginal, French, English) may
have occupied and used these sites either successively or concurrently. The First Nations often have some claim to these sites as they are of the original culture, but the government ministries at national and provincial levels maintain some control via heritage legislation. Increasingly, the First Nations are exercising their claim to a voice in the development of such heritage resources, and co-management agreements appear to be the most successful
arrangements. Examples of successfully co-managed projects will be evaluated with respect to future development in the cultural heritage sector and the prospects for a World Heritage site designation in the Great Lakes region will be examined.
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Stokes-Rees, Emily W. "Invisible heritage : representing national identity in the new national museums of Hong Kong, Singapore and Macau." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442911.
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Asante, Belle. "Community engagement in cultural heritage management --case studies of museums in Harar and Addis Ababa, Ethiopia--." 京都大学 (Kyoto University), 2008. http://hdl.handle.net/2433/137081.
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Kyoto University (京都大学)<br>0048<br>新制・課程博士<br>博士(地域研究)<br>甲第13970号<br>地博第63号<br>新制||地||21(附属図書館)<br>UT51-2008-C886<br>京都大学大学院アジア・アフリカ地域研究研究科アフリカ地域研究専攻<br>(主査)准教授 重田 眞義, 教授 市川 光雄, 教授 太田 至<br>学位規則第4条第1項該当
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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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Morakinyo, Olusegun Nelson. "A historical and conceptual analysis of the African Programme in Museum and Heritage Studies (APMHS)." Thesis, University of the Western Cape, 2011. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_5648_1346401876.
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<p>In 1998 the University of the Western Cape together with the University of Cape Town, and the Robben Island Museum introduced a Post-graduate Diploma in Museum and Heritage Studies. This programme was innovative in that not only did it bring together two universities in a programme where the inequalities of resources derived from their apartheid legacies was recognised, but it also formally incorporated an institution of public culture that was seeking to make a substantial imprint in the post-apartheid heritage sphere as part of its structure. In 2003 this programme attracted substantial funding from the Rockefeller Foundation and was rebranded as the African Program in Museum and Heritage Studies (APMHS). While this rebranding of the programme might seem to be innocently unproblematic and commendable as part of the effort at re-insertion of South Africa into Africa after the isolation of apartheid, an analysis of the concepts employed in the rebranding raises serious theoretical, conceptual, and disciplinary questions for heritage studies as an academic discipline and for its connections with other fields, especially the interdisciplinary study of Africa. What are the implications of a programme that brings together the concepts of ʹAfrican-Heritage-Studiesʹ? Does the rebranding signify a major epistemological positioning in the study of Africa or has it chosen to ignore debates on the problematic of the conjunction of the concepts? This study address these issues through a historical and philosophical analysis of the programme, exploring how it was developed both in relation to ideas of heritage and heritage studies in Africa and, most importantly by re-locating it in debates on the changing meaning of <br>ʹAfricaʹ in African studies.</p>
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Gurol, Ongoren Pelin. "Displaying Cultural Heritage, Defining Collective Identity: Museums From The Late Ottoman Empire To The Early Turkish Republic." Phd thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614547/index.pdf.
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As the powerful visual instruments of modernity, museums have been formulated in multiple narratives under the impact of political ideologies in the modern world. The study aims to analyze the museums of different socio-political contexts of the late Ottoman Empire and the early Turkish Republic comparatively by examining to what extent their buildings, collections, and displaying methods were utilized in the formation of collective identities as part of contemporary imperialist, nationalist, and modernist ideologies. The overall aim of the study is to analyze how history and cultural heritage were perceived and processed for the definition of a common cultural identity in the two different historical contexts by focusing on their display in museums. This study examines pioneering archaeological and ethnographic museums in Turkey, focusing on the Ottoman Imperial Museum [Mü<br>ze-i Hü<br>mayun (1887-1891)], the Museum of Pious Foundations [Evkaf-i Islamiye Mü<br>zesi (1914)], Ankara Ethnographical Museum (1925-1927<br>opened in 1930), the non-implemented project including a National Museum (also called as Hittite Museum) (1933), and the Hittite Museum (also known as Eti Mü<br>zesi<br>and later called as Anatolian Civilizations Museum) (restoration began in 1938)]. In order to provide a critical evaluation, the study utilizes the knowledge produced not only in architecture but also in history, archaeology, ethnography, and museology while analyzing the formation of those museums within their contexts.
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Chen, Yi-Fang. "Rush-weaving in Taiwan : perceptions of the environment and the process of becoming heritage." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/7925.
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This thesis is based on fieldwork carried out among weavers of rush-woven objects in rural Taiwan. In this thesis, I argue that nowadays rush-weaving is good work, though not good labour, for the weavers, and the social logic of Yuanli rush-weaving lies in the process of craft production. It is an ethnographic investigation into the practice of rush-weaving in association with colonialism, the heritage movement, and museum operation. Firstly, this thesis examines the economics and history and practice of craft production, in order to understand how the craft industry has become what it is and what is embedded in the process of production. The skill-based knowledge required of weavers is embedded in the relationship between a weaver and her environment. While this fundamental characteristic remains, new meanings and uses are attached to craft practice and the objects produced. Secondly, this thesis explores the process by which craft production is involved in the heritage and museum movement in contemporary Taiwan, so as to understand the interrelationship between craft production and the movement. I consider how ideas of tradition, heritage, and museums are perceived and enacted in everyday life, and find that these ideas contain contradictions and have different meanings for insiders and outsiders. The analysis as a whole seeks to explain why artisans keep weaving in contemporary society, and that it must be understood in terms of their continuous reaction to the constant transformation that the rush-weaving industry has undergone, which is reflected in the relationship between artisans and their objects in the process of production. The thesis addresses current issues – which are both fiercely contested in events and policies, and marginalised in everyday life – in Taiwan, but also attempts to contribute to the anthropological perspective on knowledge in practice, technology and social logics, past and present, and tradition and innovation.
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Coward, Ann Art History & Theory UNSW. "Museums and Australia???s Greek textile heritage: the desirability and ability of State museums to be inclusive of diverse cultures through the reconciliation of public cultural policies with private and community concerns." Awarded by:University of New South Wales. Art History and Theory, 2006. http://handle.unsw.edu.au/1959.4/31957.
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This thesis explores the desirability of Australia???s State museums to be inclusive of diverse cultures. In keeping with a cultural studies approach, and a commitment to social action, emphasis is placed upon enhancing the ability of State museums to fulfil obligations and expectations imposed upon them as modern collecting institutions in a culturally diverse nation. By relating the desirability and ability of State museums to attaining social justice in a multicultural Australia through broadening the concept of Australia???s heritage, the thesis is firmly situated within post-colonial discourse. The thesis analyses State multicultural, heritage, and museum legislation, in New South Wales, Victoria, and Queensland, with regard to State museums as agents of cultural policy. Results from a survey, Greeks and Museums, conducted amongst Australia???s Greeks in Sydney, Melbourne and Brisbane, reveal an anomaly between their museum-going habits and the perception of those habits as expressed by government policies promoting the inclusion of Australians of a non-English speaking background in the nation???s cultural programmes. In exploring the issue of inclusiveness, the thesis highlights the need for cultural institutions to shift the emphasis away from audience development, towards greater audience participation. The thesis outlines an initiative-derived Queensland Model for establishing an inclusive relationship between museums and communities, resulting in permanent, affordable, and authoritative collections, while simultaneously improving the museums??? international reputation and networking capabilities. By using the example of one of the nation???s non-indigenous communities, and drawing upon material obtained through the survey, and a catalogue containing photographs and lists of Greek textile collections found in the Powerhouse Museum (MAAS), Sydney, the National Gallery of Victoria and the Immigration Museum, Melbourne, the Queensland Art Gallery and the Queensland Museum, Brisbane, as well as collections owned by private individuals, the thesis focuses on the role played by museums in constructing social cohesion and inclusiveness.
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Andrews, Erin L. "Old stories, new narratives public archaeology and the politics of display at Georgia's official Southeastern Indian interpretive center /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/anthro_theses/30/.
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Thesis (M.A.)--Georgia State University, 2009.<br>Title from title page (Digital Archive@GSU, viewed June 22, 2010) Despina Margomenou, committee chair; Jeffrey Glover, Emanuela Guano, committee members. Includes bibliographical references (p. 94-100).
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Sampaio, Maria da Luz Braga. "Da fábrica para o museu: identificação, patrimonialização e difusão da cultura tecnico-industrial." Doctoral thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/16426.
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A valorização da cultura técnico-industrial é o tema desta tese e, no seu âmbito, procuramos fornecer um quadro metodológico, que desencadeie processos de identificação, patrimonialização e difusão dos objetos técnico-industriais e dos seus múltiplos contextos. Neste processo é fundamental a noção de património industrial móvel, assumido como um valor de identidade pelas populações que viveram, não só, os processos da industrialização, como também, os impactos da desindustrialização e da terciarização no tecido económico.
Os acervos ligados ao património sejam eles documentos ou máquinas representam a atividade industrial de diversos períodos históricos e constituem uma memória, nem sempre valorizada, pela dificuldade da sua recolha e manutenção. Os objetos técnico-industriais no seu ciclo de vida passam por diferentes fases: fabrico, distribuição e consumo, e neste percurso muitos são destruídos, outros ficam abandonados, poucos são os que se preservam. Estes ao serem retirados dos seus espaços originais, perdem os seus contextos explicativos e os edifícios devolutos, ficam, agora, privados de serem lidos dentro de uma lógica funcional, tornando-se em armazéns industriais que acabam por serem reutilizados ou transfigurados sem referenciais técnicos que lhe atribuam personalidade própria.
A passagem do tempo e a evolução tecnológica, transforma os objetos técnico-industriais em “objetos únicos” capazes de nos transmitirem contextos e saberes que só serão descobertos se forem recolhidos e estudados. Esta recolha implica a existência de museus dedicados ao seu estudo e preservação, museus que se reclamem como agentes da difusão dos testemunhos de técnicas desaparecidas, dos contextos industriais do mundo do trabalho e das suas transformações sociais.
Apoiados pelas recentes metodologias de estudo dos objetos de ciência, ensaiamos, nesta Tese, a sua aplicação a um objeto técnico-industrial: o motor eléctrico. O modelo de análise utilizado assenta no conceito de que os objetos são, em primeiro lugar, fontes históricas importantes para os estudos sobre a cultura material e que estes possuem à partida um valor patrimonial. Estas metodologias desencadeiam estudos pluri/interdisciplinares e congregam diferentes abordagens e especialistas, reforçando, assim, o papel dos museus e do património que preservam; ABSTRACT: FROM THE FACTORY TO THE MUSEUM: IDENTIFICATION, HERITIZATION, DIFUSION OF TECHNICAL-INDUSTRIAL CULTURE The theme of this thesis mirrors the rise in value of the technical and industrial culture in its scope; we intended to provide a methodological frame that develops techniques of identification, heritage, diffuseness of the technical-industrial objects and its several contexts. In this procedure, it is essential the concept of industrial mobile heritage, understood as an identity value by the people who lived, not only the processes of industrialization but also, suffered the effects and influence as well as the tertiarization in the economic structure.
The collections related to the heritage, either documents or machines, portray the industrial activity of the varied periods in History. Beyond that, they convey the industrial memory that has not always been valued by the difficulty of its gathering and maintenance. The technical-industrial objects, during its life history, go through several phases: manufacture, delivery and consumption, where many are destroyed, others are abandoned and finally other goes to the museum. Furthermore, they lose their explanatory contexts when removed from their primary spaces and the buildings become unoccupied. Consequently, they are deprived of being read within a functional logic what makes them into industrial storehouses to be reused and transformed without technical references that could confer them a specific personality.
Technological evolution and time change the technical-industrial objects into unique objects capable of conferring contexts and knowledge that can only be discovered if they are collected and surveyed. However this implies existence of museums dedicated to maintenance and survey.They are the only place capable to studying, conserving and diffusing the marks of disappeared techniques and of industrial contexts of the working world and its social changes.
Supported by the recent methodologies used in the survey of the object of science, we tested in this Thesis, their application to a technical-industrial object: the electric motor. The proposed model is based on the concept that these objects are, in first place, important historical sources for material culture that goes beyond their heritage value.
This methodology rouses pluri and interdisciplinarity studies and gathers distinct approaches and professionals. Therefore, reinforcing the role of the museums and the heritage they preserve.