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High-Commissioner Puaux insisted on opening the museum after ten years hadpassed and the construction of the museum was almost finished. The exhibition wouldgroup 20,000 objects placed in showcases imported from France. Moreover, Puauxwrote to the President of the council of the Ministry of Foreign Affairs and told him thatthe Lebanese Government had contacted the ‘Siegel Company’ to import theshowcases. Lebanon wanted an agent from the National Museum of France to seehow to mount them and what kind of measures to be taken. The agent should alsoverify that they are well constructed according to the order of command. Puaux askedthe president to talk to the Minister of National Education and Fine Arts (ArchIFAPO/SAHC) 52 . Apparently, sixty-five showcases were ordered and were constructedunder the supervision of the Direction des Musées Nationaux (DMN) in France. Mr.Thevenard, head of the DMN carpentry workshop, was designated as an agent alongwith a representative of the Lebanese Government Mr. Ayoub (Arch. MN Z 67BEYROUTH) 53 . It seems also that the reconstruction of a painted tomb from Tyre wasimplemented. Puaux stated that once the last phase of work is finished and thecollection documented, then the museum should be opened to the public andinaugurated at the end of the year (Arch. IFAPO/SAHC) 54 . The building was completedin 1937 and Emir Maurice Chéhab declared that the museum would house allLebanese Antiquities (Chéhab, 1937: i). The Museum was eventually inaugurated onMay 27, 1942 by Alfred Naccache who was then President of the Lebanese Republic.Until 1975, the NMB received a large number of visitors until its doors were closedwhen the Civil War (1975-1990) broke out (The Short Guide of the NMB, 2001: 5-6).The advent of the ravaging civil war greatly hampered the activities of the NMB thatremained closed until 1997.ConclusionA museum travels through a series of events from the moment it is conceived to themoment it is achieved. One can see that each museum has a particular history that hasshaped it as an institution. Most historians and museologists have argued that history isan important point of reference within any society. History can become in some of themuseums a political tool and thus the museum narratives are no longer innocent orpure. They are created to cater for the needs of a contemporary society.Museums are the direct record of human experiences. Thus, we need to step out of thefear of writing about museum histories, rather than censoring them. If we neglecthistory, we neglect part of a social history that is important in any museums’ types. Inmany cases, there is a tendency in some museums to ignore particular events that areconsidered important to the museum space and its development. Such neglect isharmful to museum histories.BibliographyPrimary sources:Archives of the Directorate General of Antiquities (Arch. DGA):-Carton 3: Fouilles-Liban, Collection Dr. FordArchives de l’Institut Français d’Archéologie du Proche-Orient/ Service des Antiquités du Haut-Commissariat (Arch. IFAPO/SAHC)Archives du Ministère des Affaires Etrangères, Paris (Arch. M. AE):52 Letter No. 1032/ S.A. from General Puaux, High-Commissioner of the French Republic to His Excellency President ofthe Council at the Ministry of Foreign Affairs, not dated, but most probably 1939. The letter was sent from Beirut.53 Letter from Soubhi Haidar, Director of National Education and Fine Arts to the Siegel Company, dated Beirut,December 7, 1939.54 Letter No. 144/S.A. from Gabriel Puaux, High-Commissioner of the French Republic in Syria and Lebanon to theDelegate of the High-Commission next to the Government of the Lebanese Republic, dated Beirut probably 1939 or1940 as there is no date on the letter. General Puaux was High-Commissioner from October 27, 1938 to June 1940.10
-Arch. M. AE Série E Levant 1918-1940 Syrie-Liban 379-Arch M. AE Série E Levant 1918-1929 Syrie-Liban 419Archives des Musées Nationaux (Arch. MN):-Arch. MN Z 67 BEYROUTHSecondary Sources:Asmar, C. 1997. “Histoire des Collections du Musée National de Beyrouth: la Collection Ford,” NationalMuseum News 5: 2-6.Chéhab, M. 1937. “Le Musée de Beyrouth,” Bulletin de Musée de Beyrouth 1: 1-6.Clunas, C. 1998. “China in Britain: The Imperial Collections,” in in Barringer, T. and Flynn, T. (eds.),Colonialism and the Object. Empire, Material Culture and the Museum, 41- 51. London: Routledge.DGA. 2001. The Short Guide of the National Museum of Beirut, Lebanon. Beirut: Anis Commercial PrintingPress.Hassan, F. A. (ed.). 2002. Alexandria Graeco-Roman Museum. Egypt: National Center for Documentationof Cultural and Natural Heritage and the Supreme Council of Antiquities.Jidejian, N. 1998. L’Archéologie Au Liban. Beirut: Dar An-Nahar.SAHC. 1922. “La Collection Archéologique de l’Université Saint Joseph Acquise par le Musée deBeyrouth,” Syria III : 171-175.11
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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
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LA BÚSQUEDA DE LA IDENTIDAD DE LOS
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Ética de los Museos HistóricosDe
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De hecho los objetos son elementos
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THE ETHICS OF MUSEUMS, THE CASE OF
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atualmente, que reinterpretou o con
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noção do território urbano e do
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diversas tipologias de fenômenos d
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MUSEOLOGY AND HISTORY: A LOCAL PERS
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collage referencing “Fairview: A
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other side of the equation, there w
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The reality from which an object is
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elation to the angle and place of o
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Maroevic, I. (1993) Uvod u muzeolog
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nuevas perspectivas de acercamiento
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documento. De ahí la dificultad qu
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Cada visitante llega al museo con e
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sin haberlo pensado con claridad. (
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MIRROR, WINDOW OR SHOWCASE?THE MUSE
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UN MIROIR, UNE FENÊTRE OU UNE VITR
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Un musée doit nécessairement comb
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OXÍMORON LAB. IV TH AND PTOLOMEO I
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Pero, si analizamos este proceso hi
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obtenía pingües ganancias, por un
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Pierre Bourdieu construye en relaci
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FALANDO DE CONHECIMENTO, MUSEUS EDE
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para a organização do Estado emer
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MUSEOS NACIONALES Y REPRESENTACIÓN
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Los museos nacionales en América L
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Al apropiarse de la cultura los mus
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elaboradas; tales patrones ayudará
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de la historia de los pueblos preco
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Por que el hecho de denominarse por
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Por un lado, la pulcra vitrina posi
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Al comprender lo patrimonial como u
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como ciencia social que estudia la
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imagen del fenómeno documental mus
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The aim of the presentation is to g
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collection. The museum became the g
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¿Solamente a partir de los pionero
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- contribuir a definir la identidad
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MUSEOS, HISTORIA, IMÁGENES, MÚSIC
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Estas son necesarias en un texto hi
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indígenas. De este modo, brindaban
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especialmente en los museos de antr
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403530252015105015141210108963 42 3
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LOS MUSEOS HISTÓRICOS: VELOS Y DES
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son hechos neutros, todo está guia
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otros” los que confirman la ident
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ResumenHablar sobre museología e h
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procedimientos, su trabajo de pesqu
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simbólica, debían ofrecerse para
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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
Page 429 and 430: (Chile, 1973-1998) por Steve Stern,
Page 431 and 432: pueblo, la participación humana lo
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Page 435 and 436: educando, promoviendo a la investig
Page 437 and 438: Sino guiándolos hacia un concepto
Page 439 and 440: MUSEO Y MUSEOLOGÍA, UNA PROPUESTAA
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Page 443 and 444: Su “objeto material” 8 es el pa
Page 445 and 446: LOS CASOS DE CURARREHUE Y SAN PEDRO
Page 447 and 448: investigación. En este proceso de
Page 449 and 450: arqueología. Para qué hablar de l
Page 451 and 452: Todo lo anterior se ha ido implemen
Page 453 and 454: trazando las formas de proceder en
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Page 457 and 458: HERITAGE IN PROCESS IN A CONTINENT
Page 459 and 460: Esta é a base para o desenvolvimen
Page 461 and 462: que nos transporta de forma poderos
Page 463 and 464: Mas que instrumento seria eficaz pa
Page 465 and 466: CEMENTERIOS PATRIMONIALES, BIENES D
Page 467 and 468: todo el paso del hombre. La protecc
Page 469 and 470: heroicos, en los restos de los muse
Page 471 and 472: FASCINATING HISTORICAL EVENTS OF TH
Page 473 and 474: were thought not good enough to be
Page 475 and 476: other rooms were needed for the Nat
Page 477 and 478: that the budget was very tight. We
Page 479: (Asmar, 1997: 3). Lebanon finally r
Page 483 and 484: Todavía son bastante recientes, so
Page 485 and 486: El mensaje es claro: los conflictos
Page 487 and 488: GARCÍA CANCLINI, Néstor. Culturas
Page 489 and 490: ce changement muséologique au sein
Page 491 and 492: Les s fonctions institutionnelles c
Page 493 and 494: faire l’étude. En peu de temps,
Page 495 and 496: des visiteurs au cœur d’une vill
Page 497 and 498: BibliographieArchitecture Intérieu
Page 499 and 500: Por lo tanto, la relación entre Mu
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