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Museum Renaissance? Revisioning 'pub...

Ashley, Susan L. T.

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Museum Renaissance? Revisioning 'publicness' at the Royal Ontario Museum, Toronto.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Museum Renaissance? Revisioning 'publicness' at the Royal Ontario Museum, Toronto./
作者:	Ashley, Susan L. T.
面頁冊數:	380 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-05, Section: A, page: .
Contained By:	Dissertation Abstracts International72-05A.
標題:	Sociology, Organizational. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR71332
ISBN:	9780494713327

Museum Renaissance? Revisioning 'publicness' at the Royal Ontario Museum, Toronto.
Ashley, Susan L. T.

Museum Renaissance? Revisioning 'publicness' at the Royal Ontario Museum, Toronto. - 380 p.

Source: Dissertation Abstracts International, Volume: 72-05, Section: A, page: .

Thesis (Ph.D.)--York University (Canada), 2010.

Contemporary museums are repositioning themselves in society, seeking new roles, new audiences and new activities, but in their search for new purpose, the 'public' nature of their institutional role appears to be in retreat. This dissertation critically examines the multi-layered concept of 'publicness' in relation to museums as communicative public institutions, using as a case study the Royal Ontario Museum (ROM) a museum of natural history and world cultures in Toronto, Canada. It interrogates how the public nature of the ROM is changing as it completes a multi-million dollar 'Renaissance' architectural project and adopts a new vision of 'public engagement' with the museum as 'agora'. This dissertation argues that the new public vision for the ROM is a rhetorical one, a case of 'in public' celebrity that has promised relevance and engagement, but that has not has been implemented in practice.

ISBN: 9780494713327Subjects--Topical Terms:

1018023
Sociology, Organizational.

Museum Renaissance? Revisioning 'publicness' at the Royal Ontario Museum, Toronto.
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502 $a Thesis (Ph.D.)--York University (Canada), 2010.
520 $a Contemporary museums are repositioning themselves in society, seeking new roles, new audiences and new activities, but in their search for new purpose, the 'public' nature of their institutional role appears to be in retreat. This dissertation critically examines the multi-layered concept of 'publicness' in relation to museums as communicative public institutions, using as a case study the Royal Ontario Museum (ROM) a museum of natural history and world cultures in Toronto, Canada. It interrogates how the public nature of the ROM is changing as it completes a multi-million dollar 'Renaissance' architectural project and adopts a new vision of 'public engagement' with the museum as 'agora'. This dissertation argues that the new public vision for the ROM is a rhetorical one, a case of 'in public' celebrity that has promised relevance and engagement, but that has not has been implemented in practice.
520 $a The research presented here closely inspects the mission, structure, corporate positioning, and public exhibitions and programs of the ROM today, documenting how 'publicness' is reflected in attitudes and behaviors of management, staff and visitors. It assesses how the architectural and operational changes during the Renaissance project have reshaped museum and visitor practices. A confusion of attitudes and priorities regarding the museum's public mission and communicative activities was discovered within the organization. Boundaries were found to persist between ideas of 'publicness' that served corporate interests and practices, and the needs and concerns of 'the public', a divide argued to be the very essence of celebrity publicness.
520 $a Particular attention is paid to understanding whether publicness in the sense of democratic acts and social change is part of the vision of 'public engagement' promoted by the ROM. Evidence was found in marginal locations, outside of formal museum practices, of engagements that emphasized dialogic relationships and material interactions --- in stranger sociability, in interactive volunteer practices, and in small displays and activities with external collaborations. This dissertation argues that achieving 'publicness' in the sense of bridging, dialogue and democratic encounter would require internal not superficial change to the ROM's organizational culture, the removal of boundaries between rhetoric and deeds, between management and workers, and between inside and outside.
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