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ICOM International Council of Museums - International Institute for ...

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LAS FUENTES JUDICIALES: DE LOS ARCHIVOS HISTÓRICOSA LOS MUSEOSKarina Clissa - ArgentinaAbstractThis test tries to rescue the value <strong>of</strong> the document in general and the judicial one inindividual to recreate and to interpret the past human; it is so one looks <strong>for</strong> toemphasize the dimension <strong>of</strong> the sources written like plat<strong>for</strong>m <strong>of</strong> analysis <strong>for</strong> thepreparation <strong>of</strong> a new text in conditions <strong>for</strong> being dramatized. The concept <strong>of</strong> “historicalspeech” is extremely ample and the base <strong>of</strong> the historical reconstruction is theinteraction that settles down between the historian and the sources written by himchosen. That dialogue will be more enriching according to the ability <strong>of</strong> the historian tointerrogate the document and to the capacity <strong>of</strong> which they work in the museums to<strong>of</strong>fer his particular glance <strong>of</strong> the objects and <strong>of</strong> the in<strong>for</strong>mation that these <strong>of</strong>fer to theaims <strong>of</strong> being exhibited. A representation helps to approach to us certain realities thatno longer are available <strong>of</strong> first hand and whose script could be written up from a type <strong>of</strong>file document as they are the judicial procedures <strong>of</strong> the civil and ecclesiastical courts.The litigations indirectly show the voice <strong>of</strong> the protagonists, because the civilemployees who acted in such procedures really produced a speech and constructed animage <strong>of</strong> which he was understood by crime and delinquent. This speech persecutedthe purpose <strong>of</strong> convincing to the authority based on the necessities and interests <strong>of</strong> theinvolved ones, were victimarios victims or, according to the circumstance. However,this intentionality does not prevent to that works, to enter itself in the knowledge <strong>of</strong>aspects <strong>of</strong> the daily life <strong>of</strong> that then, recognizing itself also that such sources admitdifferent interpretations from the in<strong>for</strong>mation that they provide and that always arepossible to carry out new glances on them. The judicial sources allow to also glimpsethe <strong>for</strong>m in which the authorities and the elites saw those settlers, but, indirectly, theways <strong>of</strong> behavior <strong>of</strong> those same actors to subalter to us and the strategies that suchput into operation be<strong>for</strong>e the order that was tried to them to impose as it happened inAmerica during the colonial period.Sabemos que las fuentes como testimonios del pasado son múltiples, de variadas<strong>for</strong>mas y de diversos caracteres y temáticas. Constituyen así la base de diferentesespecialidades dentro de las Ciencias Sociales. Como canales de in<strong>for</strong>macióncargados de ideología e intención, las huellas son el reflejo de la misma sociedad quelos produjo, adquiriendo relevancia no sólo para la historia sino también para otrasciencias como la Museología.El lugar donde vivimos y nos desenvolvemos en sociedad está situado en el tiempo,posee una historia que ha dejado rastros con<strong>for</strong>mados por los edificios, monumentos,objetos diversos que nos rodean, los archivos, los museos, la memoria. Pero sobretodas las cosas, esas huellas son especialmente el lazo de unión entre el pasado y elpresente, y afirman inacabadamente la influencia de lo primero sobre lo segundo.Sin embargo, muchas veces tales objetos exigen de quien los mira un esfuerzo pordesarrollar la enseñanza imaginativa junto con el entendimiento del contexto, el marcodentro del cual fueron creados, cuáles fueron sus funciones, qué grupos de poderrespaldaron tales construcciones, etc. Sucede que, por lo general, las huellas pasivasno dicen nada de la época a la que pertenecieron a no ser que se las utilice comopunto de partida de una aspiración mayor que consiste en musealizar lo intangible. Esque el museo puede ser considerado como un ambiente en donde se exponen los182

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