CONTENTS / SOMMAIRE / INDICE Colette Dufresne-Tassé, Introduction / Introduction / Introducción Theoretical research / Recherche théorique / Investigación teóretica Ricardo Rubiales García Jurado, Reflexiones desde la educación contemporánea – el visitante en el centro de la acción museística Historical research / Recherche historique / Investigación historica Michel Allard, La fonction éducative dans l’histoire des musées québécois (1824-2015) Nicole Gesché-Koning, The avant-garde of European museum education in Belgium Sofia Trouli, Insights into the genealogy of museum education in Greece: early compatible views on the importance of museum education expressed at two international meetings in Athens Emprirical research / Recherche empirique / Investigación empirica Fernanda de Lima Souza and Adriana Mortara Almeida, The History Museum of the Instituto Butantan: visitor’s profile and perception Maria Esther A. Valente, Andréa F. Costa and Flávia Requeijo, The audience of a science museum and the concept of time Silvia Alderoqui y María Cristina Linares (coords.), Participación y representación de los visitantes en el Museo de las Escuelas Alexandra Tranta, Assimilating the museum experience: Dimensions of the education of potential museum educators, based on the results of a limited survey among students of Preschool Education Magaly Cabral, Does a summer camp favour the relationship with the museum? Rosane Maria Rocha de Carvalho, Public opinion survey of users of the gardens of the Museu da República in Rio de Janeiro

Museums and the Public Sphere investigates the role of museums around the world as sites of democratic public space. Explores the role of museums around the world as sites of public discourse and democracy Examines the changing idea of the museum in relation to other public sites and spaces, including community cultural centers, public halls and the internet Offers a sophisticated portrait of the public, and how it is realized, invoked, and understood in the museum context Offers relevant case studies and discussions of how museums can engage with their publics' in more complex, productive ways

Answering key questions in the study of how museums communicate, Louise Ravelli provides a set of frameworks to investigate the complexities of communication in museums: * What is an appropriate level of complexity for a written label? * Why do some choice in language make a more direct relation to visitors? * Is there a correct way of presenting a particular view of content? * How do design practices contribute to the overall meanings being made? The frameworks enhance the way we critically analyze and understand museums text, both in the sense of conventional – written texts in museums – and in an expanded sense of the museum as a whole operating as a communicative text. Using a wide range of examples Ravelli argues that communication contributes fundamentally to what a museum is, who it relates to and what it stands for. Not only museum studies and communications studies students, but also professionals in the field will find Museum Texts an indispensable guide on communication frameworks.

Museums and public art have traditionally taken significantly different approaches to customer engagement, but throughout history they have also worked together in some urban contexts, notably as landmarks of so-called cultural districts. Public Art and Museums in Cultural Districts reviews their changing interactions in many different types of cities since the Enlightenment, or even before, going back to the etymological origins of museums and monuments in classical antiquity. The type of historical enquiry presented within the volume is not intended as a total narrative, but the international study cases considered convey a global panorama of the shifting paradigms set in different periods by some cultural neighbourhoods and emulated worldwide. Blurring boundaries between art history, museology and urbanism, this critical account explores past tensions, achievements and failures, giving insightful consideration to present policies and pointing out reasonable recommendations for the future regarding public heritage. Presenting for the first time an insights into the role of collections of public art as landmarks of cultural districts, this book considers collections displayed outdoors from the double perspective of curatorial outreach and civic values. This book will fill a gap in the existing museum studies literature, hitherto mainly focused on indoor collecting and curatorial policies, but increasingly more and more attentive to their outside context. As such, the book should be of great interest to academics, researchers and students working in the fields of art, heritage, museum studies and urban history. It should also be of value to professionals working in the museum and art sectors.

Elly Strik's work - drawings and paintings on paper - features brides, birth, rituals and rebirth, witches and mystics, heaven and dreams, in a dialogue with certain aspects from El Greco, Goya, Darwin, Freud, Munch, Ensor and Duchamp.0Strik's approach is instinctive, excessive, and completely focused on itself. With her strong and poetic research she explores the potential of metamorphosis and the process of artistic creation. In her mutant-like figures, turned into shapes, portraits and figures on paper, the inner and outer look are simultaneous and create a visual provocation that forces the onlooker to reflect on the human condition. Exhibition: Reina Sofía National Art Centre, Madrid, Spain (22.1.-26.5.2014).

This book represents the state of the art in cognitive stylistics a rapidly expanding field at the interface between linguistics, literary studies and cognitive science. The twelve chapters combine linguistic analysis with insights from cognitive psychology and cognitive linguistics in order to arrive at innovative accounts of a range of literary and textual phenomena. The chapters cover a variety of literary texts, periods, and genres, including poetry, fictional and non-fictional narratives, and plays. Some of the chapters provide new approaches to phenomena that have a long tradition in literary and linguistic studies (such as humour, characterisation, figurative language, and metre), others focus on phenomena that have not yet received adequate attention (such as split-selves phenomena, mind style, and spatial language). This book is relevant to students and scholars in a wide range of areas within linguistics, literary studies and cognitive science.

Mapping a New Museum seeks to rethink the museum’s role in today’s politically conscious world. Presenting a selection of innovative projects that have taken place in Latin America over the last year, the book begins to map out possibilities for the future of the global museum. The projects featured within the pages of this book were all supported by The Santo Domingo Centre of Excellence for Latin American Research (SDCELAR) at the British Museum (BM), with the aim of making the BM’s Latin American collections meaningful to communities in the region and others worldwide. These projects illustrate how communities manage cultural heritage and, taken together, they suggest that there is also no all-encompassing counter-narrative that can be used to "decolonise" museums. Reflecting on, and experimenting with, the ways that research happens within museum collections, the interdisciplinary collaborations described within these pages have used collections to tell stories that destabilise societal assumptions, whilst also proactively seeking out that which has historically been overlooked. The result is, the book argues, a research environment that challenges intellectual orthodoxy and values critical and alternative forms of knowledge. Mapping a New Museum contains English and Spanish versions of every chapter, which enables the book to put critical stress on the self-referentiality of Anglophone literature in the field of museum anthropology. The book will be essential reading for students, scholars and museum practitioners working around the world.