博物馆教育性格的养成——从《美国博物馆:创新者和先驱》一书谈起

与欧洲博物馆强调皇家收藏与民众教化的传统不同,美国的博物馆性格立足于社会教育与公众服务。自初创之日起,"教育至上"的性格一直贯穿美国博物馆发展的始终,由此养成的有关博物馆教育议题的思考成为国际博物学界的典范。爱德华·亚历山大在《美国博物馆:创新者和先驱》一书中系统考察了13位美国博物馆领军人物的超前理念和伟大事迹,他们无一例外地都在强调博物馆教育和公众娱乐的重要性,并在"教育至上"的博物馆性格上达成共识。这些先驱们在博物馆平台上发挥才智、创造典范的经验材料对于理解美国博物馆教育性格生成与演变的具体过程与整体图式具有举足轻重的作用。     

Mediating legacies of empire in the post-imperial museum

ABSTRACT

Throughout the Balkans, the history museum remains a crucial site where memories of an imperial past are molded, rationalized, and integrated into the wider arc of nationalist narratives about a country and its people. The legacy of the Ottoman Empire is particularly fraught in Greece, where this period is almost always classified as ‘post-Byzantine’ within the context of government institutions. In this paper, I set out to trace the legacy of the Ottoman Empire as it has been mediated in multiple museum sites throughout the country. I will primarily focus on two case studies: The National Historical Museum in Athens and the Museum of Ali Pasha and the Period of Revolution in Ioannina. Comparing these two sites and their practices of display bring into sharper focus the dynamics of how historical memory plays out in a central versus regional sphere of belonging and identity.     

Public Archaeology as Renewer of the Historical Museum

Abstract

Working towards greater public interaction in the museum, and with archaeology reflecting on its contemporary context, traditional collection practices will inevitably be challenged. Archaeologies of the contemporary bring new kinds of artefacts to collections and raises ethical and political questions, since it must interact with the world of the living. Public archaeology, on the other hand, strives to involve people in the making of history, with an aim towards more inclusive, and even democratic, pasts and collections. Three recent research projects at the Swedish Museum of National Antiquities have dealt with these issues. The case studies future memories, archaeologist for a day and public contract archaeology question artefact categorizations, policies for storage and display, as well as database organization, design, and availability. It clearly turned out that the way museums work with collections structure and limit the ways in which audiences can engage with them. To deal more intensively with the public relations of archaeology, and to get more engaged in the contemporary, has definite consequences for the collections and collection practices of archaeological museums. A public-need focus will inevitably give opportunities for archaeologists and institutions to renew their perspectives and practices.     

Alternative Radio: exhibiting radio and music heritage after the Christchurch earthquakes

This article examines the representation of Christchurch, New Zealand, student radio station RDU in the exhibition Alternative Radio at the Canterbury Museum in 2016. With the intention of ‘making visible what is invisible’ about radio broadcasting, the exhibition articulated RDU as a point of interconnection between the technical elements of broadcasting, the social and musical culture of station staff and volunteers, and the broader local and national music scenes. This paper is grounded in observations of the exhibitions and associated public programmes, and interviews with the key participants in the exhibition including the museum’s exhibition manager and staff from RDU, who acted as independent practitioners in collaboration with the museum. Alternative Radio also addressed the aftermath of the major earthquake of 22 February 2011, when RDU moved into a customised horse truck after losing its broadcast studio. The exhibition came about because of the cultural resonance of the post-quake story, but also emphasised the long history of the station before that event, and located this small student radio station in the broader heritage discourse of the Canterbury museum, activating the historical, cultural, and personal memories of the station’s participants and audiences.     

Pioneer Living 1963 Style: Imaginations of Heritage in a Post‐war Canadian Suburb

This article connects the origins of a Canadian living history museum to the cultural and social developments of 1960s suburban Canada. Although there exists a strong literature on heritage and commemoration in Canada (and around the world), few scholars have looked explicitly at museums in that country. The literature on history museums elsewhere in the world is stronger. However, despite the strengths of this international literature, its focus has been on the use of museums in the present. An important aspect of the use of heritage, the historical contexts in which past museum visitors interpreted museum themes and displays, has not received much attention. This article argues that museum patrons of the 1960s, the decade in which many living history museums were founded, saw pioneer villages in the context of their own modernising lifestyles. However much Black Creek Pioneer Village might reflect anxiety about the direction of modernity, it also framed the past in ways that legitimated modern, suburban living.     

博物馆中的南海知识生产与地理想象

地理想象是通过文化媒介对特定地方的地理“现实”的转录与重构,而博物馆是达成地理想象的一个代表性媒介。博物馆不只是一个展品陈列的空间载体,其中还包含着地理知识的生产。本文以南海博物馆为例,采用参与式观察、半结构式访谈、话语分析方法,探讨中国（海南）南海博物馆对“南海”的呈现。研究表明,南海博物馆对南海的地理想象不仅是话语建构,同时也是一种国家领土主权在话语层面上的实践。地名、地物、地图、地景是南海地理想象的构建基础,中国（海南）南海博物馆通过对“过去”资源的空间组织,构建了“南海”的地域想象、边界想象以及地缘想象。     

试论博物馆与公众关系的四种研究路径

近年来,公众之于博物馆的重要性持续攀升,甚至开始居于一种主导性的优先地位.博物馆学界相应地出现了 一系列暗含"公众转向"的话语.基于此,博物馆与公众关系成为一个重要的研究议题.博物馆与公众关系有四种路径:公众研究路径聚焦存在于博物馆内外的公众群体,以此分别发现公众之于博物馆和博物馆之于公众的价值;沟通关系路径侧重博物馆...     

文旅融合下的博物馆公众服务:新理念、新方法

文化与旅游深度融合,既是博物馆发展的重大契机,也是博物馆面临的全新挑战。博物馆旅游成为新的旅游形式,这批游客也成为新的博物馆观众。因此,博物馆要创新公众服务的理念与方法,对社会公众进行分众调研、分众服务,主动引导社会公众欣赏历史艺术、体验美好生活;找准博物馆的旅游定位,将博物馆打造成为兼有历史、人文等多种价值的文化景观;构建"博物馆+"的连接模式,为社会公众提供更好的文化服务。     

西方人在华博物馆的本土化转向——以震旦博物院和上海博物院为例

以震旦博物院和上海博物院为代表的西方人在华建立的博物馆,除了是西方在华文化殖民的表现外,还是西方在华收集自然史信息的机构,旨在开展自然史标本收藏和研究工作,以服务西方自然史研究和了解中国的需求.到了 20世纪二三十年代,它们开始重视博物馆作为公共文化机构的作用,展览和社会教育成为这些博物馆的重要活动,并以此向中国社会开...     

Vernacular museum: communal bonding and ritual memory transfer among displaced communities

Eclectically curated and largely ignored by the mainstream museum sector, vernacular museums sit at the interstices between the nostalgic and the future-oriented, the private and the public, the personal and the communal. Eluding the danger of becoming trivialised or commercialised, they serve as powerful conduits of memory, which strengthen communal bonds in the face of the ‘flattening’ effects of globalisation. The museum this paper deals with, a vernacular museum in Vanjärvi in southern Finland, differs from the dominant type of the house museum, which celebrates masculinity and social elites. Rather, it aligns itself with the small amateur museums of everyday life called by Angela Jannelli Wild Museums (2012), by analogy with Lévi-Strauss’ concept of ‘pensée sauvage’. The paper argues that, despite the present-day flurry of technologies of remembering and lavishly funded memory institutions, there is no doubt that the seemingly ‘ephemeral’ institutions such as the vernacular museum, dependent so much on performance, oral storytelling, living bodies and intimate interaction, nevertheless play an important role in maintaining and invigorating memory communities.     

古物陈列所的兴衰及其历史地位述评

成立于1914年且存在了34年的古物陈列所长期被人们忽视并淡忘。它实际上是中国近代民主革命的光荣产物和反复辟斗争的重要成果,曾占据今日故宫博物院的半壁江山,被誉为“民国成立后最有价值之建设”。它是紫禁城向博物馆转变的第一篇章,是中国第一家国立博物馆、宫廷博物馆、艺术博物馆,开创了中国近代博物馆发展史的新纪元,在世界宫廷类博物馆中占有特殊地位,在中国近代政治、社会、文化史上也具有较深远的影响。     

中国博物馆大型原创性特展之展览策划——以南京博物院为例专访龚良院长

21世纪以来,中国博物馆的大型原创性特展工作呈现良好的发展态势。南京博物院龚良院长指出,大型原创性特展作为博物馆为公众提供更好的文化服务的文化产品,既能衡量博物馆的发展活力,也有利于博物馆的可持续发展。博物馆应根据自身的定位和特色完善藏品体系,从而确定展览主题,制订展览规划。高校应该围绕研究公众、服务公众调整博物馆学的课程设置。试行中的理事会制度将有助于推动博物馆为公众提供高品质的文化服务、满足公众更高的精神文化需求。南京博物院近年大力推行策展人制度,鼓励策划大型原创性特展,重视并强调展示文物之间的相互关系。2016年度举办的"法老·王"展是一次用低票价、非营利的方法,举办了一个不用财政资金、为公众提供优质服务的高品质展览,并将展览作为文化创意产品的有益尝试,将为中国博物馆界提供一个可复制的成功案例。     

Is cultural democracy possible in a museum? Critical reflections on Indigenous engagement in the development of the exhibition Encounters: Revealing Stories of Aboriginal and Torres Strait Islander Objects from the British Museum

Recent museological scholarship emphasises visitor participation and democratic access to cultural heritage as key to securing the ongoing relevance and future sustainability of museums. But do legacies of colonialist collecting practices and hierarchical conventions of representation in museums afford the possibility of genuine cultural democracy? This paper explores this question via detailed analysis of the Encounters exhibition, developed by the National Museum of Australia in partnership with the British Museum and promoted as an unprecedented partnership between the institutions and Indigenous Australian communities. Drawing on an extensive and emerging literature on museums, community engagement, participation and democracy, in tandem with analysis of public critiques and Indigenous responses to the exhibition, the paper suggests that the extent of Indigenous agency within the collaboration fell short of the articulated goals of the project. It concludes that the concept of maximal participation and release of agency to communities of interest may be difficult to achieve within existing museum frameworks.     

The future of the enthnographic museum (Respond to this article at http://www.therai.org.uk/at/debate)

This essay discusses the recent past of ethnographic museums and raises questions about their future. In the last thirty years or so, ethnographic museums have faced many challenges arising both from within and beyond anthropology to the extent that in the post‐colonial and post‐modern era they could be said to have suffered an identity crisis. Many have been renamed, remodelled or rehoused in spectacular new premises (such as the Musée du Quai Branly in Paris). Only a few have remained largely unaltered, as at the Pitt Rivers Museum in Oxford where the authors of this essay are employed. Drawing on the theoretical literature in museum anthropology and material culture, many years of ‘hands on’ curatorial experience and the insights gained from a five year collaborative research project involving ten major ethnographic museums in Europe, the authors investigate how ethnographic museums might engage with new audiences and new intellectual regimes in the future.     

博物馆讲述“她”故事:博物馆与女性主题展览

博物馆展览的女性文化属于社会建构的一种身份文化。因受传统男权文化的影响,"她"故事在"他"历史中,长期处于被叙事、被表征的从属地位。作为公共文化空间的博物馆,早期受"他"文化叙事模式的影响,展示中较多充斥着男权话语。20世纪80年代,受新博物馆学运动的多元叙事方式影响,女性主题叙事逐渐进入博物馆。近年,国内博物馆在展览实践中也开始改变传统"国之重器"观的宏大叙事模式,从"小历史"视角重新审视、诠释和再现女性文化,先后策划了一系列颇具变革性的女性主题展览,为消解男权表征体系中单调的女性形象,重构女性文化身份,实现"她"故事的自我讲述等提供了重要的公共文化平台。     

参与性收藏的理论探析与思考

参与性收藏是近些年来西方一些博物馆基于"记录今天"理念而新兴的收藏。从收藏的角度,参与性收藏是博物馆通过主题策划与活动设计,组织社会公众携相关物件加入博物馆收藏,并成为馆藏的一部分,以参与的方式将公众与博物馆物品、内容、语境联系起来,其主题多与当下社会发展、生产生活方式变迁等相关,方式上突破传统收藏相对单一、封闭的模式,具有流动、共享、多元、充满活力的特点。从藏品内涵上,具有"记录今天""关注日常""突出藏品与人的关联"等特点,丰富了博物馆藏品的内涵与外延,这是对传统收藏的丰富与推进。在参与性收藏的视野下,航海类博物馆收藏具有更深广的创新空间。     

Museums,memory and meaning‐creation: (re)constructing the Tajik nation

To overcome the traumas of the 1992–1997 civil war, the Tajik authorities have turned to history to anchor their post‐independence nation‐building project. This article explores the role of the National Museum of Tajikistan, examining how the museum discursively contributes to ‘nationalising’ history and cultural heritage for the benefit of the current Tajik nation‐building project. Three main discursive strategies for such (re)construction of Tajik national identity are identified: (1) the representation of the Tajiks as a transhistorical community; (2) implicit claims of the site‐specificity of the historical events depicted in the museum, by representing these as having taken place within the territory of present‐day Tajikistan, thereby linking the nation to this territory; and (3) meaning‐creation, endowing museum objects with meanings that fit into and reinforce the grand narrative promulgated by the museum. We conclude that the National Museum of Tajikistan demonstrates a rich and promising, although so far largely unexplored, repertoire of representing Tajik nationness as reflected in historical artefacts and objects of culture: the museum is indeed an active participant in shaping discursive strategies for (re)constructing the nation.     

博物馆理论研究与博物馆发展方向——苏东海先生专访

21世纪以来,我国的博物馆事业进入新的发展高潮,博物馆理论与发展研究面临许多新的重大课题。博物馆学家苏东海先生认为:博物馆理论研究需要从博物馆发展实践着手,博物馆发展研究要重视发展战略和时代主题的研究;生态博物馆作为一种文化遗产保护理论与行动的新思维,呈现出与传统博物馆两极分化、对立统一的关系,其成功应建基于让文化的主人真正成为自己文化的主人;文化遗产的保护与发扬体现了当前国际博协的战略思想,是博物馆的时代主题;博物馆应充分认识并强化自身独特的知识、审美和道德特征及其价值,提升专业功能与社会职能,增强文化竞争力;博物馆理论工作者应直面博物馆领域的复杂形势,加强对国内外博物馆以及博物馆学基础理论的研究,探索适合中国博物馆发展的理论体系和发展道路,建设有中国特色的博物馆学。     

Coming to Terms with the Stasi: History and Memory in the Bautzen Memorial

This paper examines the role played by the encounter of history and personal memories in the difficult process of coming to terms with the Stasi in present-day eastern Germany. While historians have made substantial progress over the last two decades in accounting for the wide range of ways in which the German Democratic Republic (GDR) is remembered by East Germans, the memorials and museums of the reunified Germany remain unable to integrate memories of dictatorial oppression and happiness in everyday life. Sites commemorating state repression are thus often assumed to lack impact on former GDR citizens whose memories differ from official versions of history. These assumptions are tested for the Bautzen Memorial, formerly known as the ‘celebrities’ prison' of the East German Ministry of State Security. Focusing on the differing receptions of GDR memorial sites, this article draws on interviews with two former political prisoners and with visitors to the Memorial who grew up in socialist East Germany. It argues that the open approach of the Memorial, which leaves visitors to draw their own conclusions from the exhibition, allows different stakeholders to find ways of personal engagement with the past at the site despite the disparities with their own memories.     

论博物馆核心竞争力的建设

博物馆作为公共文化设施是当地社区的精神缩影和文明的窗口。作为一个公共产品,面临着市场经济的冲击,全国的各个级别的博物馆都在探索着自己的出路和发展的方向。在发展过程中也出现了一系列的问题,在调和经济效益和社会效益之间,在处理自身发展和观众的要求之间,在保护收藏和展示之间都出现了或多或少的问题。党中央在"两会"上一直提倡发展文化产业和创意产业,要求又好又快地发展,为构建和谐社会而努力。在这样的形势下,也要求我们的博物馆与时俱进,在科学发展观的指导下增强博物馆的核心竞争力。