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。     

OBJECTS OF HISTORY: THE PAST MATERIALIZED1

What is the role of material culture in understanding the past? This review essay explores two principal approaches—the history of museums and antiquities and environmental history—to reflect on their shared investment in historical materialism. It reviews Timothy LeCain's The Matter of History and Peter Miller's History and Its Objects, discussing their perspectives on objects and the writing of history. One important part of this history concerns the relationship of academic historians to the idea of a history museum, curatorial practices, and public history. What kinds of history can we do in a museum, with things, that might not occur without the presence of objects? Why were nineteenth- and early twentieth-century efforts to encourage a close relationship between historical research and the history museum largely abandoned in favor of a document-driven approach? The second dimension of current interest in historical materialism concerns new approaches to environmental history. It draws inspiration from Deep History as well as recent work in archaeology and STS (Science and Technology Studies) to argue for a more integrated history of humans and nature that demonstrates how things have made us. The history of successive efforts to remake the environment in different parts of the world and their consequences offers crucial object lessons in how humans have responded to nature's own creativity. Both approaches to historical materialism highlight the virtues of a more interdisciplinary approach to historical scholarship, in the museum or in the field, but most important, in our own sensibilities about what it means to think historically with artifacts and to treat them as compelling evidence of a shared history of humanity and nature.     

Transcendent myths,mundane objects: setting the material scene in rock,soul, and country museums

The many varied myths of origins, aesthetic transcendence, and greatness that surround popular music continue to proliferate in a variety of forms. One comparatively recent type of institution producing such forms of mythology is the popular music museum. This article uses the familiar idea of the ‘experience economy’’ to examine how three popular music museums produce experiences through objects that, while they are deliberately cast as mundane and everyday, work to support widely-shared narratives of the musical traditions of which they are a part. I argue that they do so in the service of larger myths of popular music. In each case I examine, I show that the myths on display are specific to the music that forms that content of the exhibitions. I argue that the specific kinds of spectator experiences these museums seek to produce are designed to enhance the value of these museums and their collections through claims made on specific types of musical patrimony made material through carefully contextualized objects of display. As such, traditionalist myths of musical greatness and aesthetic transcendence are well-served by the forms of exhibition and display produced by these institutions.     

PROJECTIONS OF RACE,NATURE, AND ETHNOGRAPHIC CHILDHOOD IN EARLY EDUCATIONAL CINEMA AT THE NATIONAL MUSEUM OF CANADA

In this article, we examine depictions of race, nature, and childhood in Harlan Ingersoll Smith's early ethnographic films at the National Museum of Canada. Created in the 1920s for a children's education programme, Smith's films construct ethnographic portraits of different Indigenous peoples in Western Canada. We demonstrate how museum education appropriated Indigeneity as a discursive resource to immerse viewing children in particular narratives of Canadian national heritage and development. The films worked through a complex double movement, bringing children in the Ottawa museum audience into association with Indigenous children based on shared experience as children while simultaneously differentiating Indigenous peoples as Other. The films inculcated white youth at the museum in a romanticized connection to Canada's prehistory through knowledge of the nation's Indigenous peoples as well as nature. In the films, the position of Indigeneity within the future remained ambiguous (traditional practices sometimes disappearing, sometimes enduring). Yet, despite Smith's uncertainty about colonial beliefs in the disappearance of Indigeneity, his films nonetheless presented the teleological development of the settler nation as certain. Our article highlights how thinking about children, as audience for and thematic focus of these films, extends discussions of the geographies of film, of children, and of settler colonial nationalism.     

Historical empathy in a museum: uniting contextualisation and emotional engagement

Museums, memorial centres and other heritage institutions use various strategies to evoke an emotional response that serves to elicit empathy with the historical events and actors that are portrayed in exhibitions. To increase historical understanding, however, both emotional engagement with and contextual understanding of these historical figures are needed. Using the concept of historical empathy, this paper examines the continuous interplay between cognitive and affective dimensions of history learning in museums. We conducted a case study at Museon in The Hague, the Netherlands. We studied a learning session on children living through the Second World War, the museum’s strategies employed in the exhibition, the entrance narratives of secondary school students participating in the session and their engagement with the exhibition and with the educational activities. While most of the students did not feel related to WWII prior to their museum visit, the museum managed to engage many of them with personal stories and artefacts and by offering multiple and new perspectives. Our findings underscore the interplay between cognitive and affective dimensions of historical empathy and show that museums can serve as powerful contexts for developing this skill among school students.     

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.     

1. INTRODUCTION: MULTIPLE TIMES AND THE WORK OF SYNCHRONIZATION

In this essay, which introduces the History and Theory forum on Multiple Temporalities, I want to discuss how the existence of a plurality or a multiplicity of times has been conceptualized in the historiographical tradition, partly by entering into a dialogue with recent writers, historians, philosophers, sociologists, anthropologists, and literary scholars, partly by returning to the eighteenth century, to the origin of “the modern regime of historicity” (Hartog). In these theoretical and historical investigations I aim to do two things: on the one hand, to explore and discuss different ways of conceptualizing multiple times, in terms of nonsynchronicities, layers of time, or natural and historical times; on the other hand, to trace how these multiple times have been compared, unified, and adapted by means of elaborate conceptual and material practices that I here call “practices of synchronization.” From the eighteenth century onward, these synchronizing practices, inspired by, but by no means reducible to, chronology have given rise to homogeneous, linear, and teleological time, often identified as modern time per se, or simply referred to as “progress.” In focusing on the practices of synchronization, however, I want to show how this regime of temporality during its entire existence, but especially at the moment of its emergence in the eighteenth century and at the present moment of its possible collapse, has been challenged by other times, other temporalities, slower, faster, with other rhythms, other successions of events, other narratives, and so on.     

PHOTOGRAPHS, SYMBOLIC IMAGES, AND THE HOLOCAUST: ON THE (IM)POSSIBILITY OF DEPICTING HISTORICAL TRUTH

Photography has often been scrutinized regarding its relationship to reality or historical truth. This includes not only the indexicality of photography, but also the question of how structures and processes that comprise history and historical events can be depicted. In this context, the Holocaust provides a particular challenge to photography. As has been discussed in numerous publications, this historic event marks the "limits of representation." Nevertheless there are many photographs "showing" the Holocaust that have been produced in different contexts that bespeak the photographers' gaze and the circumstances of the photographs' production. Some of the pictures have become very well known due to their frequent reproduction, even though they often do not show the annihilation itself, but situations different from that; their interpretation as Holocaust pictures results rather from a metonymic deferral. When these pictures are frequently reproduced they are transformed into symbolic images, that is, images that can be removed from their specific context, and in this way they come to signify abstract concepts such as "evil." Despite being removed from their specific context these images can, as this essay argues, refer to historical truth. First, I explore the arguments of some key theorists of photography (Benjamin, Kracauer, Sontag, Barthes) to investigate the relationship between photography and reality in general, looking at their different concepts of reality, history, and historical truth, as well as the question of the meaning of images. Second, I describe the individual circumstances in which some famous Holocaust pictures were taken in order to analyze, by means of three examples, the question what makes these specific pictures so particularly suitable to becoming symbolic images and why they may—despite their abstract meaning—be able to depict historical truth.     

Dialectical Itineraries

This essay is a kind of sequel to an earlier one entitled "Marx's Aufhebung of Philosophy and the Foundations of a Historical-Materialist Science." Departing from the point reached in that essay, I take a Whitmanesque journey through Marx's writings and the logic of a materialist conception of history. I begin with Walt Whitman's very materialist, very dialectical, and very decentered apostrophe in his Song of the Open Road : "You objects that call forth from diffusion my meanings / And give them shape." Taking this apostrophe as my cue, I proceed to elaborate the complexity and the dimensions of dialectical thinking within a historical-materialist framework. The specific purpose of the essay is twofold: to portray the "decentered" dialectical methodology that is a consequence of Marx's historical-materialist redefinition of the subject-object relation; and to map the kinds of analytical tasks, the open-ended "itineraries," that a historical-materialist science of Wissenschaft must pursue. This "dialectical cartography" is developed through a critical, though I hope productive, response to poststructuralist critiques of dialectics, particularly to those approaches that exaggerate Saussure's notion of the arbitrariness of signs. In this respect my intention is to indicate how the current confrontational relation between historical materialism and poststructuralism, especially over matters of the production of meaning and the analysis of culture, might be transformed into one of complementarity.     

相关性 共鸣度 同理心——博物馆企及观众的关键所在

"保持与当代社会的相关性"理应成为博物馆的发展要义。展览、教育等惟有搭建在"相关性"的基础之上,吸引观众关注,才有可能进一步引发他们共鸣,促使其感动、铭记,并最终激励他们的同理心,改变其思维和行为。这是环环相扣、层层推进的一体化进程,以达求博物馆传播的良性循环,真正企及观众。对博物馆如何通过展览、教育以达求"相关性""共鸣度""同理心"等企及观众的核心要义进行探讨,将促使博物馆真正讲好当下的故事,同时走近观众,进驻他们的心灵。     

Representing Doi Moi: history,memory and shifting national narratives in late-socialist Vietnam

In late-socialist states, what are the drivers of shifts in national narratives and how can a focus on the museum method reveal the way state institutions construct national myths and nationalist ideologies? This paper addresses these questions by focusing on a behind-the-scenes ethnography of an exhibition celebrating 30 years of Doi Moi – the economic reform period in Vietnam that commenced in 1986. Focusing on the museum as method – the process of documenting how curators deliberate over labels, objects, photos and so forth – the paper analyses how national narratives are authored and transformed through curatorial exchanges and expert forums. By focusing on how aesthetics and achievement provide a foundation for inclusive interpretative strategies that integrate official histories alongside personal memories, this paper reflects on the alienating effects of official histories in state institutions and the strategies by which people appropriate these to reclaim their past.     

展览物件意义建构的若干研究方法述评

意义建构既是展览研究的一个主题,也是研究物件意义的一种思维方法,它强调物件的意义是建构的而非给定的.在涉及意义建构主题的具体研究方法中,符号学分析强调展览是意义建构的网络;心理学分析重视观众的心理过程在意义建构中的作用;互动模式分析提出诸种要素互动过程中观众的核心作用;现象学分析突出个人生活世界的维度;认知过程分析聚焦...     

博物馆女性题材展览的类型与意义

女性题材的展览主要分为女性博物馆的基本陈列和专题展览、综合类博物馆的常设展览和临时展览,旨在以"物"为媒介来展示女性的生存状态和精神追求,与公众一起讨论有关女性的话题,甚至包括一些敏感的、有争议的现象或问题。博物馆以女性为题材,组织展览和教育活动,关注、探讨并传播女性文化,一方面反映出博物馆关注并回应女性广泛参与社会生活并贡献于社会变革与发展的现实,发挥博物馆作为时代潮流倡导者和引领者的作用;另一方面,女性观众数量增多,参观需求多元化且女性广泛参与博物馆事务,对博物馆展览理念也产生一定的影响。然而,博物馆的女性主题展览也存在数量少、展览和诠释活动中对女性价值和意义挖掘不够等问题,需要在理念和实践上进一步改变。     

3. THE QUESTION OF HISTORY IN PRECOLONIAL INDIA

This essay considers an important and enduring problem in the writing of Indian history: how do we historians approach precolonial narratives of the past? A rich and suggestive new study of South Indian modes of historiography, Textures of Time: Writing History in South India 1600–1800, by Velcheru Narayana Rao, David Shulman, and Sanjay Subrahmanyam, has positioned itself at the center of this debate. For a variety of reasons, precolonial narratives have been demoted to the status of mere information, and genres of South Indian writing have been dismissed as showing that South Indians lacked the ability to write history and indeed lacked historical consciousness. Textures of Time responds to this picture by proposing a novel historical method for locating historical sensibility in precolonial narratives of the past. The authors ask us not to judge all textual traditions in India, especially narratives of the past, on the basis of the verifiability of facts contained in them. Rather they suggest a radical openness of the text, and they argue that a historical narrative is constituted in the act of reading itself. They do this by examining the role of genre and what they call texture in precolonial South Indian writing. This essay examines the strengths and limitations of their proposal. It does so by examining the formation of colonial archives starting in the late‐eighteenth century in order to understand the predicament of history in South Asia. Colonial archives brought about a crisis in historiographical practices in India; they not only transformed texts into raw information for the historian to then reconstruct a historical narrative, they also delegitimized precolonial modes of historiography. A better understanding of these archives puts one in a better position to assess the insights of Textures of Time, but it also helps to highlight the problems in its solution. In particular, it reveals how the book continues to use modern criteria to assess premodern works, and in this way perhaps to judge them inappropriately.     

GREEN BOUGHS ON THE GRAVES: UNMOORING HERAT FROM IMPERIAL TIME

The aim of this article is to explore how popular historical knowledge disrupts the spacetimes produced by imperial power. To this end, I present my reading of a shrine guide that was composed by Asil al-Din Waʿiz in 1460 and that documents the city of Herat's blessed dead. This work, the Maqsad al-Iqbal, anchors Herat to space and time by both the graves of the city's myriad saints and the tales told about them locally. I investigate the ways in which the popular historical knowledge recorded in the Maqsad al-Iqbal offers a counterpoint to the ideas of Herat's past that have been generated by dynastic chronicles, luxurious visual arts, and the grandeur of royal construction projects. I am interested not only in alternative historical visions themselves but in how nonelite productions of history resist easy adaptation into a hegemonic scheme and how the dead themselves are constantly at work in our narratives, breaking down every attempt at a singular, coherent past.     

A Very Remote Storage Box Indeed: The Importance of Doing Archaeology with Old Museum Collections

Although our practice has come to be defined by a focus on excavation as the trademark of archaeological research, research on archaeological collections lies at the scientific heart of the discipline. We demonstrate through two very different case studies how a return to primary sources (in this case, boxes of artifacts) can upend our understanding of the objects themselves and create new narratives of social and technological change. At the same time, access to museum collections is becoming increasingly difficult as institutions struggle with the growing pressure to enhance public outreach and modernize data management, while simultaneously contending with persistent budget cuts. As archaeologists who work closely with museum curators and museum collections, we offer suggestions for how researchers can work with museums to ensure that future generations of researchers and the general public can learn from the ancient materials preserved within their collections.     

THE COUNTED TIME: TECHNICAL TEMPORALITIES AND THEIR CHALLENGES TO HISTORY

One of the main debates regarding historical representation within digital media concerns narrative, particularly the difficulty in articulating it. Digital technologies are usually presented as opposed to linear, written narratives, which is of consequence to historical writing. Despite the many merits of scholarly approaches that try to circumvent this difficulty, the lack of theoretical understanding of the categories implied in such discussions is noticeable. To counter this, this article addresses the relationship between time, technics, and narrative. I contend that the challenges of crafting narratives in digital media conceal a problem pertaining to the relationship between time and technics. Drawing on Paul Ricoeur's work on narrative, Jimena Canales's studies of the history of science, Wolfgang Ernst's and Yuk Hui's discussions of technical temporality, and Bernard Stiegler's understanding of the relationship between time and technics, I argue that it is the temporality imbued in the workings of technical objects (such as computers) that renders them averse to narrative. In making this argument, I employ the notion of “counted time” (in contrast to Ricoeur's “narrative time”) to denote a temporal mode that, despite its intersections with social, human temporality, is alien to narrative.     

跨学科视域下的博物馆非遗类展陈——以“云泽芳韵土布展”为例

非物质文化遗产保护是新时代博物馆功能的又一重要体现。如何做好非遗事项的展陈,如何通过有形、静态的"物品"呈现非遗无形、活态的"信息",这是博物馆学与民俗学、社会学、人类学等学科综合研究的要求与趋势。"云泽芳韵土布展"通过两位女性非遗传承人的手工织布作品来讲述其个人生命故事,更好地呈现"物"与"人"的关联,使观众于观展过程中,不仅能了解非遗技艺,提升非遗保护意识,更能通过对他人生命故事的解读,完成自我生命的观照与思考。此案例可以为更多的博物馆非遗类展陈提供参考。     

Captain Cook upon Changing Seas: Indigenous Voices and Reimagining at the British Museum

ABSTRACT

This article reviews the British Museum exhibition, Reimagining Captain Cook: Pacific Perspectives, 29 November 2018–4 August 2019. It situates the exhibition within a global context of exhibitions held around the 250th anniversary of Cook’s first voyage, and critically considers its attempt to reframe dominant narratives surrounding Cook, his voyages and more broadly the colonization of the Pacific through a focus on Pacific Islander perspectives within a changing museum sector.     

4. THE MATERIAL PRESENCE OF THE PAST

This article deals with the material presence of the past and the recent call in the human sciences for a “return to things.” This renewed interest in things signals a rejection of constructivism and textualism and the longing for what is “real,” where “regaining” the object is conceived as a means for re‐establishing contact with reality. In the context of this turn, we might wish to reconsider the (ontological) status of relics of the past and their function in mediating relations between the organic and the inorganic, between people and things, and among various kinds of things themselves for reconceptualizing the study of the past. I argue that the future will depend on whether and how various scholars interested in the past manage to modify their understanding of the material remnants of the past, that is, things as well as human, animal, and plant remains. In discussing this problem I will refer to Martin heidegger's distinction between an object and a thing, to bruno latour's idea of the agency of things and object‐oriented democracy, and to Don Ihde's material hermeneutics. To illustrate my argument I will focus on some examples of the ambivalent status of the disappeared person (dead or alive) in argentina, which resists the oppositional structure of present versus absent. In this context, the disappeared body is a paradigm of the past itself, which is both continuous with the present and discontinuous from it, which simultaneously is and is not. Since there are no adequate terms to analyze the “contradictory” or anomalous status of the present‐absent dichotomy, I look for them outside the binary oppositions conventionally used to conceptualize the present‐absent relationship in our thinking about the past. for this purpose I employ Algirdas Julien Greimas's semiotic square.