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.

This essay is about how Östergötland County Museum and Gotland museum use the social network Facebook to connect and communicate with their visitors/followers. It is also about the followers and the experience they get. Two interviews were made with staff from the museums to answer why and how the museums use Facebook. There were also two questionnaires sent to the museums' Facebook followers. The Facebook followers have given answers about why they follow the museums but it also sheds light on age and gender of the followers.

SummaryIt is inspiring to see Museum visitors evolve and develop through art exhibitions. Great potential lay in facilitating the learning experience by art exhibitions, and the possibility of designing exhibitions that make visitors attracted to learn. The purpose of the present work is to study the means of creating favorable conditions for lifelong and enjoyable learning in art exhibitions. The concept of learning has multiple definitions, and several have been used effectively in various ways in preceding works. The underlying principle of this work is that visitors learn by actively processing information in their own minds and through experiences. The term lifelong learning is often associated with employability and adaptability.

Fornföreningen Fibula on the Aland Islands contacts the author because its members want to create a museum.The purpose of this two years master?s thesis in Archive, Library and Museum studies is to shed light on what a museum really is. The research question I have answered is ?what is a museum and is this what Fibula really wants in their reconstructed Viking village??. Based on interview material, ethnographic field studies, relevant research in the subject and documents from Fibula, I have answered the research question.

This thesis is a report concerning the practical aspects on exhibition techniques. During an internship at the National History Museum in Stockholm I participated in the work with their new, temporary exhibition Gränslöst - en global utställning på Historiska museet [Boundless - a global voyage of discovery at the National Historical Museum]. I was part of a small project team of museum staff. The purpose of this exhibition was to show how cultures have met and influenced each other throughout history. The National Historical Museum has in its collections and exhibitions several examples of objects that has been imported from or inspired by other cultural areas.

The purpose of this thesis is to investigate the function of the museum library. The methodused consisted partly of literary studies, and partly of field investigations, conducted mainlyin the form of interviews.Two different sets of field studies have been conducted. The first one is an investigation ofthe museum libraries in Goteborg. After a preliminary study, three of these have been selectedfor further investigation. These are the libraries of Göteborgs Konstmuseum, GöteborgsStadsmuseum and Röhsska museet.

Fornföreningen Fibula on the Aland Islands contacts the author because its members want to create a museum.The purpose of this two years master?s thesis in Archive, Library and Museum studies is to shed light on what a museum really is. The research question I have answered is ?what is a museum and is this what Fibula really wants in their reconstructed Viking village??. Based on interview material, ethnographic field studies, relevant research in the subject and documents from Fibula, I have answered the research question.

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.

The purpose of this master thesis is to investigate whether exhibitions and silent pedagogy can be used to develop more inspiring environments in the public library. Silent pedagogy is a term from the field of museum education describing the silent communication with visitors that takes place in exhibitions through introduction and orientation, layout and installation, as well as signage. In the 1980s, articles in a Swedish library magazine discussed the pedagogical importance of library exhibits and how they make the patrons aware of the library?s resources. This led us to museum education and a desire to investigate whether its theories were transferrable to the library context.

This thesis is largely about museums and their role and development in and for society. With a field/case study of the District Six Museum in Cape Town, we try to encapsulate a modern function for museums within a context of 1) the current worldwide discussion on museums and their future, and 2) the development of a new democratic nation in South Africa, and museums possible role in that process. Through analysis of interviews made with concerned people within and outside the District Six museum weintend to get a picture of the views on this particular museum and its role and function, for its community and society at large, plus for other museums, as a possible role model. We find that this museum might be close to a type of museum that has been asked for by museologists and others in recent times..

Bergslagets museum is one of the oldest industrial museums in Sweden. It opened in 1922 in Falun, by the big mining company Stora Kopparbergs Bergslags Aktiebolag. This is a study of why a company would be interested in running a museum, why Bergslagets museum opened and who the people were that created it.Several persons were involved in collecting and organizing the models of old machinery, letters, paintings, pictures that was to become the Bergslagets museum. This paper shows different motives behind the opening of an industrial museum in Falun and gives a presentation of its superintendants, Carl Sahlin, Alvar Silow, Erik Johan Ljungberg and Olof Söderberg. All of them were central in the creating of the Bergslagets museum, today known as Gruvmuseet i Falun..

This thesis is a study of how Norse religion and early Christianization is presented in three Swedish museum contexts. Empirical studies of the exhibitions relating to religion have been conducted at The Historical Museum in Stockholm, The Museum of Gotland and Östergötlands Museum and interviews with the museum staff compliment the empirical data. The concept of religion has been problematized to facilitate the analysis. The result of the study is that there are tendencies to make a hierarchical order between the different religions and that Christianity is an organized religion while the Norse religion is semi-organized..

This essay concerns dance as an exhibition object by examining the permanent exhibition at The Museum of Dance in Stockholm, Dansmuseet. Due to its dependence on the temporality and movement of the lived body, dance does not easily lend itself to being exhibited in a traditional exhibition display; and since the live dance performance itself is ostensibly absent at the exhibition display, other means of representation must be relied upon in order to evoke the exhibition visitors? experiences of time and movement as well as the feeling of dance. Starting from a phenomenological first-person perspective, as an exhibition visitor, I present three ways in which such experiences may come about. The cross-section of the experience evoked and the means that trigger them are intermedial, spatial, and performative taking their departure in the visitor?s pre-understanding of dance..

How does the visitor experience the message and symbolism in an archaeological exhibition?Can they notice hidden elements in the exhibition and what decides if they see it or not?In my work I studied these things by making an investigation among exhibition visitors thathave much or none knowledge about archaeology and history. I wished to see how well theycan notice this and if knowledge is important for the understanding of the message and thesymbols. The case study takes place at the exhibition Metropolis at Kulturen in Lund, wherethe history behind and about the Medieval town of Lund is shown.My results show that the possibility for understanding the messages and symbolism exist, butthe chances to do so increase with knowledge.My goal was also try to give some guidelines for exhibition which will improve presentationof the exhibition. To express it shortly this include knowledge, self-awareness and to makevisitor´s studies.My paper also discuss related things: how exhibitions are made, the visitor, the society versusthe museum, the new growing trend towards the museum as a great experience, the changeswithin the museum world and how this affect the future of the archaeological museum..

This is a two year master's thesis in the field of museum and cultural heritage studies. The purpose of the thesis is to examine different opinions among museum employees about the role of museums. The thesis also aims to find out to what extent and in what way these opinions are influenced by the museum's own policy documents, the national cultural policy and the academic field of museum studies. I have conducted qualitative research interviews with six employees from three different cultural history museums. The theoretical framework of the thesis is based on Laruajane Smith's term authorized heritage discourse.