| | viii | |
| Preface | | x | |
| Acknowledgements | | xiv | |
| Part I Communication theories | |
| Education, communication and interpretation: towards a critical pedagogy in museums |
| | 3 | (25) |
| | | |
| Communication in theory and practice |
| | 28 | (16) |
| | | |
| Learning in art museums: strategies of interpretation |
| | 44 | (9) |
| | | |
| The museum as a communicator: a semiotic analysis of the Western Australian Museum Aboriginal Gallery, Perth |
| | 53 | (14) |
| | | |
| | | |
| Part II Learning in museums | |
| Museum learners as active postmodernists: contextualizing constructivism |
| | 67 | (6) |
| | | |
| The constructivist museum |
| | 73 | (7) |
| | | |
| Teaching yourself to teach with objects |
| | 80 | (12) |
| | | |
| | 92 | (7) |
| | | |
| | 99 | (6) |
| | | |
| | | |
| Museum multicultural education for young learners |
| | 105 | (5) |
| | | |
| Children, teenagers and adults in museums: a developmental perspective |
| | 110 | (8) |
| | | |
| Museum-goers: life-styles and learning characteristics |
| | 118 | (13) |
| | | |
| Whose museum is it anyway? Museum education and the community |
| | 131 | (6) |
| | | |
| Part III Developing effective exhibitions | |
| Learning from learning theory in museums |
| | 137 | (9) |
| | | |
| Intrinsic motivation in museums: why does one want to learn? |
| | 146 | (15) |
| | | |
| | | |
| Cognitive psychology and interpretation: synthesis and application |
| | 161 | (11) |
| | | |
| Collaboration: towards a more holistic design process |
| | 172 | (19) |
| | | |
| | | |
| |
| Communications Design Team, Royal Ontario Museum |
| | 178 | (13) |
| The exhibition development process |
| | 191 | (10) |
| | | |
| Combating redundancy: writing texts for exhibitions |
| | 201 | (4) |
| | | |
| Writing readable text: evaluation of the Ekarv method |
| | 205 | (6) |
| | | |
| | | |
| | 211 | (4) |
| | | |
| Museum text as mediated message |
| | 215 | (8) |
| | | |
| Increased exhibit accessibility through multisensory interaction |
| | 223 | (18) |
| | | |
| | | |
| | | |
| Part IV Thinking about museum audiences | |
| That those who run may read |
| | 241 | (14) |
| | | |
| Audiences: a curatorial dilemma |
| | 255 | (14) |
| | | |
| Cultural imagining among museum visitors |
| | 269 | (9) |
| | | |
| | 278 | (10) |
| | | |
| Museums and cultural diversity in contemporary Britain |
| | 288 | (7) |
| | | |
| A beginner's guide to evaluation |
| | 295 | (3) |
| | | |
| Monitoring and evaluation: the techniques |
| | 298 | (4) |
| | | |
| | | |
| | 302 | (3) |
| | | |
| Evaluation of museum programmes and exhibits |
| | 305 | (7) |
| | | |
| Pupils' perceptions of museum education sessions |
| | 312 | (8) |
| | | |
| Collaborative evaluation studies between the University of Liverpool and national museum and galleries on Merseyside |
| | 320 | (12) |
| | | |
| | 332 | (5) |
| | | |
| Index | | 337 | |
