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Nossos Museus contemporâneos necessitam ser mais humildes e ao mesmo tempomais ousados, envolvendo seus pesquisadores e museólogos numa proposta quetranscenda, inclusive, o universo do espetáculo e do divertimento tão a gosto nopresente. É preciso que sejam criativos e, com projetos novos e consistentes façamemergir o Homem Crítico, reordenador dos fenômenos sócio- culturais e históricos quelhe são próprios. Somente assim, poderão vir a se constituir em esteiras reflexivasonde nossos jovens e homens comuns, perplexos e ansiosos nesta virada de século,terão condições de se perceberem melhor, de repensarem as trajetórias seguidas, desonharem o não dito e ousarem construir nações capazes de gestar um novopresente para o advento de um futuro mais promissor para toda a humanidade.364
MUSEOS NACIONALES Y REPRESENTACIÓN: ÉTICA,MUSEOLOGÍA E HISTORIAÓscar Navarro – Maestría Virtual en Museología – UNA – CostaRicaAbstractMuseums play many roles in society but mostly, they are the preservers of the culturaland historical memory of the people. They are also a means through which people getin touch with aspects of reality that are beyond their space-time framework.Museums display people’s heritage in such a way that they contribute to the process of“nation building” and thus, they can become a ¨virtual site¨ in the service of the nation’sneed for political positioning and imaging, they can have political, economical, andpsychological influence on people. Thus they can be instruments in the social,economic, cultural and political development of nations and regions. Therefore,museums “are tools which can serve the ends of nation building.” They appropriatedthe history and memory of the people to devise a coherent account for the nation’sorigins and development in order “to find [and present] some meaning in thechronological sequence of events ...creating a shared experience.” And this sharedexperience was intended “to generate pride, and to foster consensus andidentification.”The way the pre-Columbian cultures –as well as the minorities – have been exhibitedalong National Museums in Latin America is rooted in the origins of the NationalMuseums after the wars of independence. At the moment of independence mostnations wanted to be identified as civilised and modern societies and thus they wantedto avoid any relationship with the original cultures of the continent. This way of thinkingwas the result of the long process of European conquest and posterior genocide of thenative cultures. The forefathers of these new states saw themselves as bearers of theEuropean tradition (i.e., Christianism, civilised, modern, etc.) By constructing thesemuseums they also build their history and they took away anything that was not inaccordance with the idea of country they wanted to build. Thus national museumsbecame a sort of national pantheon of heroes and collection of significant dates.In this discourse the pre-Columbian cultures were set aside. As in EuropeanEthnographical museums these cultures have been presented as something totallyalien to the actual indigenous groups. Their history is presented via the history of their“art”, the biology and ethnographic discourses. The forefathers of Latin Americannations tried to erase the achievements of pre-Columbian cultures by talking abouthistory from the independence war on. Independence meant not only the rupture withthe Spanish dominion but also with the idea of the indigenous peoples taking part in thecreation of the new nations. Being conquered cultures they were expelled of history.This way of presentation was present during the whole XX century and it became thecentre of many debates in different meetings of ICOM professionals however, nothingwas really done about it in order to solve this problem. At the beginning of the XXIcentury is still a subject to be debated, it is of vital importance for the theoretical as wellas for the historical museology to document the process of how the pre-Columbiancultures have been exhibited in National Museums along Latin America. Such a studymust show the where these decisions came from, why some museologists supported365
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ICOMInternational Council of Museum
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Contents/IndiceMuseology and Histor
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Garma, Estela y Sansoni, Andrés (A
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Heritage in process in a continent
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(Copenhagen/Denmark, 1655) 1 , the
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Exótica: diferentes clases de plan
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Conferences / Conferencias
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The fall of the Berlin Wall and the
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of migrants from southern regions t
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work together as public historians
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History gets mythologized not just
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eunificación alemana no implicaron
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través del saber histórico. Esto
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El individualismo como un elemento
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La exposición ofreció (en una for
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4. Hans-Martin Hinz, Museums - Cult
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MUSEOLOGY AND HISTORYMartin R. Scha
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about the past. The fact that any h
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That year, the Swiss Confederation
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ha sido-, existe en nuestras mentes
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las cosas. El museo, por necesidad,
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Mucho se ha dicho sobre el rol de l
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eine Vergegenwärtigung vergangener
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einfachsten ist), ferner bei Führu
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deren Reduktion auf einige "schöne
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Nada mais natural, portanto, que o
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estabelecidos. Mas isto não signif
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entre Diferentes. E o que importa a
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pelo menos buscar integrar o presen
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fundamente en la oralidad - han per
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socialmente, por medio de mecanismo
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ordenado, donde las identidades dej
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para construir sus discursos, promu
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have remained, for centuries, as an
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and present, of asynchrony and sync
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That is, to recreate order and meth
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time, museums must try to present,
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historia representada en objetos mu
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segundo, contamos con dos ejemplos
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El aburrimiento museográfico no qu
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simbólicas con las que esos objeto
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powerful effect of the symbolic uni
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Sans doute est-ce justement au nive
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apparaît, aux yeux de l’historie
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avec la notion de patrimoine. A bie
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aussi évident que ces perspectives
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museales. Lo esencial parece consis
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y propuesto por el ICOFOM después
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descansaba, sin embargo, en una ló
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Contrariamente a la lectura de los
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MUSEU E MUSEOLOGÍA: ITINERÁRIOS E
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A História que constituiu ponto de
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Uma idéia percorre as instituiçõ
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intercambiar métodos, técnica e i
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HISTORIA, MUSEOLOGÍA Y EL DONLucí
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observando lo que acontece en la pr
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Si ce n’est qu’en Méditerrané
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On peut deviner, dans la salle d’
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Mais une tradition historiographiqu
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Des travaux récents le font proven
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Je persiste à citer les propos de
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âtiment reconverti et ses équipem
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cotton», on ne voit pas que cette
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Genève et autres lieux, juin-août
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En ce qui concerne les musealia exp
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escenario, sino que se construye en
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herencia que ha sido sustraída de
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como la pluma que permite escribir
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la posibilidad de relacionar los co
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LA VIRTUALIDAD A LAS PUERTAS DEL SI
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Breves consideraciones:Por ser la E
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valor de la teoría y la reflexión
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Ahora bien, cabría preguntarnos aq
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como espacio introductorio, ya que
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UN ¿NUEVO? PARADIGMA EN LOS MUSEOS
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IntroducciónEl mundo generado por
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Pensamos que esta tarea debe ser un
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CARRETERO, Mario. VOSS, James F.(co
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Neustúpný foi um dos primeiros a
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Influência do ICOFOMNo desenvolvim
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ainda os que praticam tais ensiname
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LE MUSÉE, LE PASSÉ ET L’HISTOIR
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1882 - 1883 Musée du Petit Sémina
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éapprendre « les leçons du pass
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musée, daté du 20 octobre 1982, e
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destiné à recevoir les restes de
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MUSEOLOGÍA E HISTORIA. UN ACERCAMI
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Existía la conciencia entre el gru
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aquellos sucesos o acontecimientos
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culturales, turísticos y económic
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estos del pasado pero esos mismos r
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distintas realidades. La subcultura
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de los testigos se hacían, con fre
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MUSEUMS AND TOURISM: THE STUDY OFTH
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igreja, um grande esforço de organ
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O Museu histórico Abílio Barreto
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ecebendo uma grande demanda de visi
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THE ITALIAN CONTEMPORARY MUSEOLOGIC
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experts of “Art” any more, but
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THE VISITOR AS A SUBJECT OF THE EXP
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presence of the public in museums i
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os vínculos só são possíveis co
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JANINI, Rubens José Macuco. Novas
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Los cambios recientes del concepto
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cuales sus experiencias biográfica
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ºLa relectura de las fuentes hist
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of the limit to the human behavior.
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j) un espacio que (im)posibilita el
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hablar de “personas”. Y son jus
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comunes entre las personas que trab
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1. Ética y lealtad con los subalte
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Una posible respuesta la buscaremos
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SAN DIONISIO OCOTEPEC, OAXACA: ¿MU
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uniones de campesinos y asociacione
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fundación especial o un fideicomis
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en la reconstrucción de escenarios
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Durante la “post modernidad” la
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El Museo, a través de las miradas
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(IM)POSTURAS MUSEOLÓGICASLO POLÍT
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MUSEO, PATRIMONIO Y LEGITIMACIÓNEs
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El ejemplo mencionado de los museos
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Bibliografía- COROMINAS, J.: Breve
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Le provocative paper de Martin Sch
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Acquisition par rétention, ensuite
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intéressantes parce qu’elles ill
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auraient donné de l’importance
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1 En tous cas les rapports annuels,
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presentación completadas con eleme
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Mientras el material cultural tiend
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ayude al visitante a aprehender el
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como el diseño. Mientras los educa
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7. HINDLE, Brooke.. Invention and E
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des générations d’avant la Gran
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Il n’y a pas de « chaînon manqu
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pour qu’il puisse en comprendre l
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histoire s’inscrit désormais dav
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por lo cual se constituyó una comi
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En cada uno de estos casos se inten
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comprender porqué no se manipulan
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Promover al Museo Mitre como un esp
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HACIA UNA NUEVA REPRESENTACIÓN DE
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identitario del modo de ser actual.
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a history and singular circumstance
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THE MUSEUM IS NOT TRANSPARENT: ENGA
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collector who is called “the eye
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At the entrance to the exhibition t
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the outcome is to show that the mus
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EL DISCURSO MUSEOLÓGICO Y LA INTER
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su proceso de maduración y desarro
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dispuesta a crear sus propios relat
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Cada vez que un museo acoge dentro
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en los espacios donde tienen lugar
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will use to show our museum narrati
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message capable of recovering the m
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as expressions of universes and cul
Page 313 and 314: LA BÚSQUEDA DE LA IDENTIDAD DE LOS
Page 315 and 316: Ética de los Museos HistóricosDe
Page 317 and 318: De hecho los objetos son elementos
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Page 331 and 332: other side of the equation, there w
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Page 337 and 338: Maroevic, I. (1993) Uvod u muzeolog
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Page 341 and 342: documento. De ahí la dificultad qu
Page 343 and 344: Cada visitante llega al museo con e
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Page 347 and 348: MIRROR, WINDOW OR SHOWCASE?THE MUSE
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Page 353 and 354: OXÍMORON LAB. IV TH AND PTOLOMEO I
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Page 369 and 370: Al apropiarse de la cultura los mus
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Page 375 and 376: Por que el hecho de denominarse por
Page 377 and 378: Por un lado, la pulcra vitrina posi
Page 379 and 380: Al comprender lo patrimonial como u
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Page 385 and 386: The aim of the presentation is to g
Page 387 and 388: collection. The museum became the g
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Page 391 and 392: - contribuir a definir la identidad
Page 393 and 394: MUSEOS, HISTORIA, IMÁGENES, MÚSIC
Page 395 and 396: Estas son necesarias en un texto hi
Page 397 and 398: indígenas. De este modo, brindaban
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Page 403 and 404: LOS MUSEOS HISTÓRICOS: VELOS Y DES
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Page 409 and 410: ResumenHablar sobre museología e h
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de los padres de la Compañía. Lib
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Rodriguez Aguilar, María Inés, Ru
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s´institue en tribunal. « Quand o
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symbolique devaient s´offrir pour
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de la Grande Librairie des Jésuite
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MUSEALIZACIÓN DE LA HISTORIA MILIT
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Hasta el día de hoy, no están cla
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(Chile, 1973-1998) por Steve Stern,
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pueblo, la participación humana lo
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comunicación, sino que se debe ana
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educando, promoviendo a la investig
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Sino guiándolos hacia un concepto
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MUSEO Y MUSEOLOGÍA, UNA PROPUESTAA
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centrándose en la idea de que su o
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Su “objeto material” 8 es el pa
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LOS CASOS DE CURARREHUE Y SAN PEDRO
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investigación. En este proceso de
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arqueología. Para qué hablar de l
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Todo lo anterior se ha ido implemen
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trazando las formas de proceder en
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leading to misinterpretation and de
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HERITAGE IN PROCESS IN A CONTINENT
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Esta é a base para o desenvolvimen
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que nos transporta de forma poderos
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Mas que instrumento seria eficaz pa
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CEMENTERIOS PATRIMONIALES, BIENES D
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todo el paso del hombre. La protecc
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heroicos, en los restos de los muse
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FASCINATING HISTORICAL EVENTS OF TH
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were thought not good enough to be
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other rooms were needed for the Nat
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that the budget was very tight. We
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(Asmar, 1997: 3). Lebanon finally r
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-Arch. M. AE Série E Levant 1918-1
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Todavía son bastante recientes, so
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El mensaje es claro: los conflictos
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GARCÍA CANCLINI, Néstor. Culturas
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ce changement muséologique au sein
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Les s fonctions institutionnelles c
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faire l’étude. En peu de temps,
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des visiteurs au cœur d’une vill
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BibliographieArchitecture Intérieu
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Por lo tanto, la relación entre Mu
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