Foreword |
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vii | |
Acknowledgments |
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ix | |
Preface |
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xi | |
PART ONE: DEVELOPING THE THEMATIC TOUR |
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3 | (4) |
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Preparation: Assemble the Facts |
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7 | (4) |
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Planning: The Theme Development Team and the Roundtable Workshop |
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11 | (26) |
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Summarizing the Site's Significance on an Index Card---The Storyline |
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22 | (4) |
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Storylines, Themes, Physical Evidence, Biographies, and Historical Context |
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23 | (3) |
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Material Culture and Biography in a Historic House Setting |
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26 | (3) |
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Roundtable Worksheet 2.1: Using Material Culture and Biography to Interpret Historic Sites |
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27 | (1) |
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Roundtable Worksheet 2.2: Using Material Culture and Biography to Build an Interpretive Tour |
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28 | (1) |
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Identifying the Site's Topics |
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29 | (2) |
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Identifying the Site's Themes |
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31 | (6) |
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Roundtable Worksheet 2.3: Outline: Using Sentences, Historical Context, Biographies, and Physical Evidence to Build Themes |
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34 | (3) |
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Creating: Writing, Revising, and Testing the Thematic Tour Outline |
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37 | (24) |
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Revising the Storyline for the Site |
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40 | (1) |
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Building the Thematic Tour Outline |
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41 | (4) |
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Storylines, Themes, Physical Evidence, Biographies, and Historical Context: Pulling It All Together |
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43 | (1) |
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44 | (1) |
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Testing the Thematic Tour Outline |
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45 | (2) |
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Refining the Thematic Tour Outline |
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47 | (2) |
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Testing and Revising the Thematic Tour Outline |
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49 | (2) |
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51 | (8) |
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Time Line for the Caleb Crawley House, 1763-81 |
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52 | (2) |
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Short Biographies for the Caleb Crawley House |
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54 | (5) |
PART TWO: TRAINING GUIDES TO GIVE THEMATIC TOURS |
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59 | (2) |
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Site Specifics and Historical Context |
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61 | (6) |
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Material Culture: The Physical Evidence |
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67 | (14) |
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Understanding Material Culture |
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69 | (8) |
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Interpreting Material Culture: A Five-Step Approach |
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71 | (2) |
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Asking Questions of Material Culture |
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73 | (4) |
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How to ``Read'' an Artifact |
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77 | (2) |
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Five Steps to Interpret Material Culture |
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78 | (1) |
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Material Culture in a Historical House Setting |
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79 | (2) |
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Using Material Culture to Build an Interpretive Tour |
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80 | (1) |
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Interpretive Themes and the Thematic Tour |
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81 | (20) |
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Thematic Tours vs. Non-thematic Tours |
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86 | (1) |
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An Introduction to the Components of a Thematic Tour---Storylines, Themes, Physical Evidence, Biographies, and Historical Context |
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87 | (1) |
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88 | (1) |
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Historical Context---Discussion |
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89 | (1) |
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Finding the Site's Topics |
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90 | (1) |
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Identifying the Site's Themes |
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91 | (1) |
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Historical Biographies: Interpreting Multiple Perspectives, Part 1 |
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92 | (3) |
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Interpreting Multiple Perspectives: People, Places, Objects, and Themes |
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94 | (1) |
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Interpreting Multiple Perspectives, Part 2 |
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95 | (1) |
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Using the Evidence to Communicate Themes |
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96 | (2) |
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Using Evidence to Interpret Themes |
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97 | (1) |
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Practice, Practice, Practice |
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98 | (3) |
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Communication: Audience and Presentation Techniques |
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101 | (26) |
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Field Assignment---Taking a Tour |
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103 | (3) |
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Taking a Tour from the Audience Perspective |
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105 | (1) |
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106 | (3) |
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Good Communication Skills: Tips for Guides |
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108 | (1) |
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Adapting the Message to the Audience |
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109 | (2) |
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Working with People of Different Ages---Children, Adolescents, and Adults |
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111 | (2) |
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The Five Stages of Human Learning: Tips for Guides |
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112 | (1) |
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113 | (1) |
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Interpreting Sensitive Topics to the Public, Part 1 |
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114 | (3) |
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Interpreting Slavery at Historic Sites: Tips for Guides |
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116 | (1) |
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Interpreting Sensitive Topics to the Public, Part 2 |
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117 | (1) |
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118 | (4) |
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122 | (5) |
PART THREE: MANAGING GUIDES EFFECTIVELY |
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Managing Guides Effectively |
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127 | (22) |
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Duties of the Guiding Staff at the Caleb Crawley House |
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129 | (3) |
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Caleb Crawley House Interpretive Guide Application |
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132 | (2) |
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Caleb Crawley House Guide Agreement |
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134 | (2) |
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136 | (1) |
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Mentor / Trainee Agreement |
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137 | (1) |
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138 | (4) |
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Caleb Crawley House Program Review |
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142 | (2) |
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Caleb Crawley House Annual Tour Review |
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144 | (4) |
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Self-Evaluation Questionnaire |
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148 | (1) |
Bibliography |
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149 | (6) |
About the Authors |
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155 | (2) |
Index |
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157 | |