The Röhsska museum in Gothenburg has recently launched a new work method, Backstage, that is studied and paralleled to the Museums permanent exhibition on Japanese design. In Backstage the Museums routine work is executed in full view of the Museums visitors in an exhibition area. The study has focused on the Museums intentions and the visitors? interpretations in Backstage and Japanese design, as well as the staff?s experience of the work method?s public aspects. The study?s empirical material has been collected through interviews with the museum staff as well as observations and interviews with visitors in both Backstage and Japanese design.

Quality is a vague concept, it seems to be about a ?gut feeling? but is used as if it were a concrete property. This paper examines the defenition of the concept of quality, the relation between quality and gender equality and also what the representation between the genders in exhibitions, purchases and donations looks like in this day. As method for this paper text analysis, with searchlight on the two parameters of quality and equality, have been used on documents that provide a historical and a cultural policy perspective. The main part of the paper is an analysis of the visual arts on Värmlands museum, Kristinehamns konstmuseum and Rackstadmuseet.In the discussion of the paper, chapter 5, the result of the research is presented.

The Swedish museum world is a complex and disputed field. Changes are high on the agenda, but they are neither easy nor self-evident. This master thesis looks at how Swedish museum professionals discuss changes and how they envision museum work for the future. It is also an analysis of the current state of the field. We have made a critical discourse analysis of three recent projects; Svåra saker, Museum 2000, makten.nu and the debate articles from the journal Svenska Museer from 2000 to 2001.

This essay deals with classification of images using the subject classification system Outline. This classification system is used in regional Museums and they do often have large collections of pictures. The regional Museums have their main focus of culture history. The purpose is to look at Outline from four different aspects: 1. In what way is the system constructed looking at classification theory, 2.

This masters thesis concerns three different types of cataloguing within three different memory institutions Museums, archives and libraries. The focus lies on the cataloguing elements which are compared in order to illuminate similarities and differences. The Regional Archive and The National Museum of World Cultures - both in Gothenburg - were chosen and compared to KRS, the Swedish counterpart to the Anglo-American Cataloguing Rules, AACR2, 2: nd ed. The purpose of this comparison is partly to display the elements in order to make students disciplines, but also the staff within archives, libraries and Museums to become conscious of each others cataloguing methods in regard to future cooperations within the memory institutions and to see if it is possible to create common cataloguing rules for archives, libraries and Museums. The questions asked in this thesis are: 1.

This bachelor thesis brings up a discussion about Museums availability and access to thearchaeological display objects towards blind and visually impaired visitors. The study phasewill take start in analyzing four Museums in south Sweden, all which have exhibitions aboutthe prehistory.Visually impaired and blind visitors don?t have a lot to go on at the current exhibitions aboutprehistory. This is because of the lack of access and availability when it comes to their specialneed. To raise awareness to this problem I took out a survey for the Museums to answer.

The Gift 2.0 - A Museological Study of donations of Objects and its Underlying Motives, is a study in order to explain why people choose to donate items for Museums, rather than any other alternative.The empirical study consists of qualitative, semi-structured research-interviews conducted with seven selected curators from various Museums, with extensive experience of the subject acquisition. I have chosen to only examine Swedish cultural-historical Museums. The hypothesis that I assumed was first and foremost that the heritage sphere is what Pierre Bourdieu calls a field. The reason that people would donate objects to Museums, is that the donation itself brings cultural capital to the donor, from people with the same habitus. Since I felt that Bourdieus theory of field, capital and habitus could not explain all the reason why people donate items to museum, my second hypotheses was that certain objects are what Annette Weiner called inalienable possessions, objects that at any cost may not be sold or bartered away.

Many institutions currently work with visitor participation. Participatory culture is basically to invite visitors to participate and to give an opportunity to co-creation. In my research I have studied two projects. The first one is the exhibition Hej! produced by Postmuseum (the Swedish mail museum) and the second one is Present by Riksutställningar (a Swedish government).This development indicates that the Museums are on their way towards a new definition. Earlier Museums were defined as a source of knowledge which purpose was to spread lore to the people.

The foundation for a museum is the collection. To collect, preserve and display is what constitutes a museum. But the process of deciding which object´s should be saved, and which objects should not, are based on values. It is also values that make people inclined to donate objects to Museums. How and why we value a museum determine if and why we donate.Objects themselves could be said to have a biography just like people.

Purpose/Aim: Exhibitions in cultural-historical Museums have traditionally been object-centered and associated with one-way communication. The aim of this thesis is to gain knowledge about how exhibition producers ? and educationalists at swedish cultural-historical Museums today relate to communication in exhibitions from a communication scientific perspective.Material/Method: The method of the thesis is interviews exhibition producers ? and educationalists at five swedish cultural-historical Museums about how they work with communication issues in exhibitions. The empiricism gained from the interviews have been analyzed from a communication scientific angle, using two communication theories as idealtypes for communication processes; Shannon and Weaver´s model and Stuart Hall´s encoding/decoding-theory.Main results: Communication in exhibitions have developed, much due to the use of more channels for communicating with the visitors and the acknowledgement of the visitor as an active subject in interpreting the exhibitions and their message.Despite this development, communication in exhibitions still have features of a one-way communication. The main feature is the lack of possibilities for visitors to communicate their interpretations and point of views of the exhibition back to the exhibition producers.

SammanfattningMuseer har till uppgift att dokumentera, forska och samla in människans och naturens lämningar för att berika kulturarvet och bidra med ny kunskap. Frågan är vad det är för kunskap som förmedlas och vad det är som väljs att ta med i kulturarvet. Denna uppsats syftar till att lyfta fram diskussionen kring huruvida kulturarvet och kunskapsförmedlingen är könsneutral och hur den dolda genuskonstruktionen speglas i utställningarna samt att studera hur ett genusperspektiv används och integreras på Tekniska Museet i Stockholm och Malmö Museer. Som empiriskt underlag ligger kvalitativa intervjuer med sammanlagt 8 representanter från båda museerna. Den teoretiska basen består av teorier kring kultur, kulturarv och genus.

The purpose with this thesis is to study how the arranging of archaeological objects in permanent exhibitions has changed over time. To find out about this I have been analysing three Museums with prehistorical permanent exhibitions. The exhibition at Statens Historiska museum was produced in 2005, Nationalmuseum in Köpenhamn was produced in 1972 with additions from 1988 and 1995 and, finally, Malmö Museer exhibition which was produced in 1977. These exhibitions have been compared to analyse developments during the last 30 years. The result shows that there are different ideals within the exhibitions.

A study of the generations problematic in Museums of work and local folklore societies, principally run through volunteer work. Illustrative examples are Ödestugu local folklore society and Husqvarna Factory Museum in Småland (Sweden). The empirical study consists of interviews with active people and inquiry among societymembers and workers at the factory. An analysis of interest, engagement and the view of the future is made and concepts like professionalisation and change are discussed. By way of conclusion the coming generation problem is discussed in relation to professionalisation, the historical development, volunteer work, economy and national projects..

The purpose of this thesis is to analyze how Museums, seen as heterotopic places where time and space act simultaneously, can, with the help of museum educators and guides, integrate the foreign citizens in Sweden. The analysis is done with the help of three institutions: The Vasa Museum, the Royal Armory and The Great Synagogue in Stockholm.The author of the thesis argues that recruiting trained personnel with foreign roots by Museums would help significantly in the creation of a sense of collective identity and belonging among those citizens who are just adapting to the country. Through the use of Swedish, in conjunction with their mother tongue, as well as analogies, an important contribution can be attained in their integration.In this work, concepts such as the accent, are treated in a categorical manner, as the author, with the assistance of other researchers, concluded that the accent should not influence the perception of the intellectual and work capability of a professional museum educator/guide.History represents another key element in this thesis, as it discusses the way to find a new narrative form to channel history and refer to it, thus sharing historical roots with these new immigrants in Sweden..

This study aimed to evaluate the levels of formaldehyde and organic acids that can build up within enclosed spaces. Another goal was to compare two types of paints that can be used as coating barriers within showcases and in turn compare them to the modern, and by many highly recommended, material of Marveseal®. A low volatile waterborne alkyd/acrylate paint and a two component polyurethane paint was compared to Marveseal® in two series of experiments. One series measured the level of formaldehyde, and thus the effectiveness of the three chosen barriers, and the other series measured the level of volatile organic acids, both the acids emitted from the paint itself, and that of the wood. One box in each series were not treated at all and was used as a reference.The fact that different types of materials emit volatile organic compounds have long been known.