In ends of the decade of 70 the plan of museologicos studies gains redefinition that still goes of meeting of those delineated in years 30. Coming back in the time it remembers the creation of the course of museums in the National Historical Museum for Gustavo Barroso, then? up to 1959 its director who was recognized as University in 1951. Transferred to the UNIRIO in 1979 where still today it exists (diverse other courses of Museums had been created in Brazil, many locked up years later and others in full activity until today. The Museologia, in its evolution in the field of the ideas opened new fronts of performance and today, in the first decade of century XXI we can all identify diverse schools of Museologia in the country.) The author remembers that in the primrdios the conservative of museums (heading of the formandos) was trained for the knowledge of the arts, its styles, its description, measurement, conservation, exhibition and the work market was well restricted; but from years 70 and until today we see the unfolding of the area, where ' has the called part; ' museogrfica' ' - that one that also takes care of of the collections and its representation in traditional museums but the Museum as field of studies, directed toward the philosophical questions compose that it. The Museum also brings another quarrel: to be or not to be ' ' cincia' '. A chain assures that Museum is a scientific theory, with object and proper methods. It has as objective ' ' fact museal' ' that the bookstore of mooring cables of the museum traditional, being able to occur in diverse spaces.
The quarrel of the loss of the quality of ' confides there; ' musegrafo' ' in detriment of the thinker (theoretician) of Museum. This second express chain the weakness of the quality of technician of the professional of Museums? old base of the profession dissolving its initial identity. To follow, in the last part ' ' Conceptual structures and the Magic of the Objetos' ' , the identity of the professional of Museums argues ideologically, who starts to occupy superior positions hierarchically, institucional and speaking, what it goes to re-echo in the form to see and to represent the national identity and other sociocultural identities. It brings with it, the proliferation of museums from the decade of 70, as exteriorizao of social, cultural and museolgico thinking. The author opposes ' ' museums narrativa' ' to ' ' museum-informao' ' , mentioning the first one to it directly with the museogrficos procedures of the Traditional Museum, and as, having the Muselogo as mediating of concepts, as researcher that places museogrfico object in second plain, only as support, for messages concerning the daily one of diverse social groups. It observes, at last, that the Museal Field in full symbolic evolution opens doors, also, for the activity of these professionals in other institucional environments of right that if they search to firm its memory and identity is of the traditional spaces of exhibition, being able to be represented by communities, parks, or under any other significant and representative forms of the modern societies.