当代博物馆与休闲：娱乐作为博物馆功能外文翻译资料

当代博物馆与休闲：娱乐作为博物馆功能

原文作者 Awoniyi Stephen

摘要：今天，现代社会的博物馆比早期的博物馆获得了更广泛的公共服务。因此，在今天看来，它的象征意义和公共事业的作用是惠及广大民众的目标。这种设计首先概括了传统的博物馆作为公共教育合作伙伴的观点，然后对博物馆与公众的互动进行了更全面的考虑，并提出了这样一种观点，即这种广泛的公共环境有利于休闲的体验。它建议博物馆，在不放弃目前的做法的情况下，可以在休闲便利的框架内有效地审视自己，并打算在当代社会中扩大它的价值（即博物馆的价值）。利用这种“喷泉”，博物馆可以清楚地表达和利用休闲的可能性（博物馆已经体现了它的特点）作为服务当代公众的一个附加功能。这一贡献的结论是，对现代社会中休闲的价值进行了诗意的审视，并指出这里所讨论的博物馆的功能都可以整合起来。

关键词：博物馆； 公众角色； 教育功能；公共利益

介绍

当代社会的博物馆显然获得了比其前身更为广泛的公众角色。在培养这一成就的过程中，有一件引人注目的事情是，现代博物馆在很大程度上是一种公众的鼓动，因此，它的象征性和功利主义的作用，是直接造福更多公众的目标。博物馆的主要功能之一是收藏和收藏物品，但在其更广泛的文化角色中，博物馆作为社区骄傲的象征，一般来说，它是一个促进公民扩大的机构。博物馆的形象和行为表面上是由为集体进步做出贡献的目标所引导的。利用这些功能和角色，这个贡献概括了博物馆的传统观点，然后将讨论转移到一个平行但不同的场景中。在前者中，最典型的场景，物体或人造物品被视为是博物馆的关键元素，而从这个基本组成部分，就会出现一个基本的博物馆功能：公众的教育。在接下来的概要中博物馆——鉴于它的空间、文物、参观者以及它所处的文化背景，被认为是休闲的更广泛体验的背景。后一种情形体现了当前贡献的主题：现代博物馆通过自身的“自然”演变，体现了一种额外的可定义的功能；它有效地展示了元素，并培养了一些经验，使它成为一个不断增加的娱乐环境。这一贡献的结论是对博物馆建筑设计的演变进行了概述，这是这座博物馆的主要目标之一。为了进一步提高博物馆在社区内的作用，博物馆鼓励人们探索博物馆的环境，并重新评价博物馆的环境，并重新评价博物馆的发展历程。

博物馆的功能

斯蒂芬威尔，这位十年来著名的博物馆问题思想家之一，认为把博物馆的功能和它们的目的区分开来是很有用的。一般来说，韦尔（1990）博物馆的定义是根据它们最独特的功能来定义的。韦尔写道：“定义的意义在于阐明它所定义的主题的不同之处和独特之处。”而“博物馆的与众不同之处在于它们收集和展示物品”（第45页)。因此，韦伊声称，收藏实践是博物馆的一种功能。但是，韦伊继续说，收集作为一种“更大的、公共的有益的”（第45页）的方法在定义中经常被忽视。韦伊认为，我们应该开始，“以博物馆的存在为目的，通过对人们的生活产生影响来提供一个重要的公共利益”（第50页）。正如古德曼选择解释的那样，这种“影响”是“我们所生活的世界的理解和创造的进步”（在Weil（1990）中引用。第55页)。古德曼补充说，博物馆是不同种类的，但无论它们的不同之处，它们的目标都应该是它们的共同目标。

博物馆努力帮助我们实现世界的理解和创造的目标的最被认可的方式之一就是通过它们的教育功能。Hooper-Greenhill（1992）声称“现在的知识被理解为博物馆提供的商品”（第2页）。这是一种乐观的评价，但毫无疑问，当代博物馆试图向我们提供新的信息，或试图通过解释来帮助我们重建旧知识。韦尔（1990）声称，博物馆为我们提供了对我们学习的鼓励和赋权。他解释说，在赋予权力的过程中，公众会有机会（通过博物馆的项目），对过去和未来做出个人、更明智的判断和选择。贝内特（1995）指出，个人可以利用博物馆的资源，在获取知识的过程中，制作“创作的声明”（第104页）。在刺激中，博物馆的项目对于拓宽我们的视野，提高我们的创造力，并鼓励我们“参与我们的经验的组织和重组”（韦尔，1990年第55页；1988年古德曼，第145页)。

博物馆的教育功能，包括“收集hellip;hellip;的作品，它力求使身体和智力都能接近”（韦尔，1995年第82页）。在主要讨论艺术博物馆的同时，韦尔的观察也同样适用于其他与收藏品相关的博物馆。博物馆对象从而继续被视为博物馆目的的基本组件。韦尔(1990)早些时候曾认为，收藏本身对博物馆来说不构成充分的条件，也没有收集(包括保存)其目的，但他发现博物馆对象的存在是一个博物馆的存在的必要条件。事实上，古德曼（1988）以极简主义的方式浓缩了博物馆的角色，简洁地指出博物馆的主要使命是“使作品发挥作用”（第145页）。换句话说，博物馆通过使用、借用、保存、使用和一般管理作品（收藏品、博物馆物件或手工艺品）来实现它的目标。这些基本的作品是博物馆用来“与我们所有的经历互动的媒介”（古德曼，1988，第147页）。

然而，这个人工制品不仅仅是博物馆的工具，因为它对博物馆物品的兴趣，似乎是对这些物品本身的一些价值的投资。正如韦尔（1995）的一个例子所展示的，在1992年到1993年期间，每天有11万名游客参加在纽约举行的Rene Magritte展览，门票黄牛票贩子以每双100美元的价格转售了12.50美元的门票。亚历山大（1988）将我们对收集、保存和观察文物的兴趣归功于对历史的直觉。这里应该注意到，历史感是一种超越的概念，它包含了过去和现在对未来的益处的兴趣。因此，正如威尔（1995）所指出的那样，博物馆从过去和现在都收集了一套收藏品，以造福于现在这代人，同时也“作为未来世代传承的遗产”（第83页）。正如亚历山大（1988）所言，这些史前古器物使我们能够尊重人类的成就（这可以被理解为给我们一种自豪感），并发现人类的遗传（这也可以被看作是给我们提供了一种环境和宇宙的联系）。韦伊（1995）注意到，博物馆中的人工制品使我们能够“更好地欣赏人类独特的创造性转化能力”（第108页），它清晰地体现在作品中，使我们能够“庆祝人类的成就”（第108页）。

亚历山大（1988）提出了几个标准，让我们欣赏工艺品，并思考它们对我们的意义。这些标准包括年龄、技能、文化内涵、审美品质和稀缺性。在对历史意义、人类成就和创造力的讨论中，提到了以上的典故，或多或少地提到了前四个标准。第五个标准，稀缺性，可能是年龄的产物，非凡的创造力，成本，或者是这些或更多因素的组合。韦伊（1990）观察到，当博物馆展出的藏品中发现了真正稀有和受人喜爱的物品时，它们“为游客提供了一种特别的体验”，因为他们遇到的物品“不是他们日常生活的一部分”（第52页）。

博物馆被认为有一个更大的使命，即通过完成它们的功能和使用它们的资源，来服务于一个重要的公共利益。最终，正如古德曼（1988）所言，通过我们与博物馆及其制品的邂逅，我们的经历被重新组织起来，我们的世界重新被创造。一些观察人士更广泛议程建议的方案为重塑我们的世界不是仅仅通过立刻的，私密的，个人的结果，如拓宽我们的知识不同的文化或磨练我们的艺术技巧。这些观察者看到了某些天主教的社会和文化价值观，这些都是由博物馆的生活所造成的。例如，贝内特（1995）重申了他的观点，即现在的公共博物馆通过提供“共享原本属于私人的物品”和“暴露原本隐藏起来的东西”（第89页）来维持民主秩序。通过对旧贵族特权的暴政的重新改造，以及所有公民的教育机会成为可能，博物馆正在服务于“国家的集体利益”（第89页）。班尼特还指出，在某些情况下，博物馆是公共礼仪的改革者。通过劝阻游客，在某些地方（例如，集市和酒吧的寻欢作乐）的行为方式，博物馆提供了将公共行为的雅致形式内化的环境。在当代社会，博物馆的作用是有价值的，它是教育的地方，是公民自豪感的源泉，是一个加强社会行为的地方，通过与朋友和陌生人在一起的时间来培养社区意识。

外文文献出处： Museum Management and Curatorship,2001,19(3)297-308.

原文

Overview

Today, the museum in modern society has acquired a significantly broader pub-lic role than its early predecessors. Underlying its present-day symbolic and utili-tarian roles, therefore, is the goal of benefiting the wider public. This contri-bution first recapitulates the traditional view of the museum as partner in curating public education, and then moves to a more synoptic consideration of the museumrsquo;s interaction with the public and advances the view that this broad public context facilitates the experiences of leisure. It proposes that the museum, without abdicating what it currently does, can usefully examine itself within the framework of leisure facilitation with the intention of enlarging its value (i.e. the museumrsquo;s value) within contemporary society. Using that foun-dation, the museum can articulate and harness the possibilities of leisure (whose attributes the museum already embodies) as an added function in its mission of serving the contemporary public. This contribution concludes with a poetic look at the value of leisure in modern society and suggests that the functions of the museum discussed here can all be integrated.

Introduction

The museum in contemporary society has evidently acquired a considerably broader public role than its early predecessors. Remarkable in fostering this accomplishment is the fact that the modern museum is, in large, a public insti-tution, so that underlying its symbolic and utilitarian roles, therefore, is the goal of directly benefiting more of the public. Among its primary functions, the museum serves as a collector and preserver of objects, but among its broader cultural roles the museum serves as a symbol of community pride and, generally, as an institution which contributes to civic enlargement. The museumrsquo;s image and actions are ostensibly and intentionally guided by the goal of contributing to the advancement of the collective. Drawing upon these functions and roles, this contribution recapitulates the traditional view of the museum and then moves the discussion to a parallel,but different,scenario.In the former, the quintessential scenario, the object or artifact is seen as the key element under-pinning the museum, and from that essential component emerges a fundamental museum function: the education of the public. In the succeeding synoptic scenario，the museum—given its combination of

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Museum Management and Curatorship, Vol. 19, No. 3, pp. 297–308, 2001

_Pergamon 2002 Elsevier Science Ltd. All rights reserved. Printed in Great Britain

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The Contemporary Museum and Leisure: Recreation As a Museum Function

Awoniyi Stephen

Overview

Today, the museum in modern society has acquired a significantly broader pub-lic role than its early predecessors. Underlying its present-day symbolic and utili-tarian roles, therefore, is the goal of benefiting the wider public. This contri-bution first recapitulates the traditional view of the museum as partner in curating public education, and then moves to a more synoptic consideration of the museumrsquo;s interaction with the public and advances the view that this broad public context facilitates the experiences of leisure. It proposes that the museum, without abdicating what it currently does, can usefully examine itself within the framework of leisure facilitation with the intention of enlarging its value (i.e. the museumrsquo;s value) within contemporary society. Using that foun-dation, the museum can articulate and harness the possibilities of leisure (whose attributes the museum already embodies) as an added function in its mission of serving the contemporary public. This contribution concludes with a poetic look at the value of leisure in modern society and suggests that the functions of the museum discussed here can all be integrated.

Introduction

The museum in contemporary society has evidently acquired a considerably broader public role than its early predecessors. Remarkable in fostering this accomplishment is the fact that the modern museum is, in large, a public insti-tution, so that underlying its symbolic and utilitarian roles, therefore, is the goal of directly benefiting more of the public. Among its primary functions, the museum serves as a collector and preserver of objects, but among its broader cultural roles the museum serves as a symbol of community pride and, generally, as an institution which contributes to civic enlargement. The museumrsquo;s image and actions are ostensibly and intentionally guided by the goal of contributing to the advancement of the collective. Drawing upon these functions and roles, this contribution recapitulates the traditional view of the museum and then moves the discussion to a parallel, but different, scenario. In the former, the quintessential scenario, the object or artifact is seen as the key element under-pinning the museum, and from that essential component emerges a fundamental museum function: the education of the public. In the succeeding synoptic scen-

298 The Contemporary Museum and Leisure

ario, the museum—given its combination of spaces, artifacts, visitors, and its place embedded within popular culture—is viewed as a context for the broader experiences of leisure. This latter scenario incarnates the thesis of the present contribution: the modern museum, through its own lsquo;naturalrsquo; evolution, has embodied an additional definable function; it effectively features elements and fosters experiences which make it definable as increasingly a context for recreation. The contribution concludes with an overview of the evolution of the design of the museum building, a key objective operator in this accretion to the role of the museum. Reflecting on the concepts of leisure presented, and re-evaluating the context of the museum and its evolution, museum pro-fessionals are encouraged to discover possibilities for further enhancement of the role of the museum within the community.

Function of the Museum

Stephen Weil, one of the decadersquo;s notable thinkers on museum matters, has suggested that it is useful to draw a distinction between the function of museums and their purpose. Commonly, claimed Weil (1990) museums have been defined in terms of their most distinctive function. “The very utility of a definition is to clarify what is different and distinctive about the subject it defines”, wrote Weil, and “what is distinctive and different about museumshellip;is that they collect and display objects”(p. 45). Consequently, Weil claimed the practice of collecting to be a function of museums. But, continued Weil, the fact that collecting is done as a means to a “larger and publicly beneficial pur-pose” (p. 45) is frequently overlooked in definitions. We ought to start, argued Weil, “with the proposition that the museumrsquo;s raison drsquo;ecirc;tre is to provide an important public benefit” (p. 50) through producing an impact on the lives of people. That “impact”, as Goodman chose to explain it, is the “improvement in the comprehension and creation of the worlds we live in” (cited in Weil (1990) [p. 55]¹. Museums are of different kinds, Goodman added, but the stated goal should be a common end for all of them, regardless of their different orien-tations.

One of the most recognized ways in which museums strive to help us meet the goal of improvement in the comprehension and creation of our world is through their educational function. Hooper-Greenhill (1992) has claimed that “knowledge is now understood as the commodity that museums offer” (p. 2). It is an optimistic appraisal, yet there is little doubt that the contemporary museum attempts to provide us with new information or attempts to help us re-structure old knowledge through interpretation. Weil (1990) claimed that museums pro-vide stimulation and empowerment for us as learners. In empowerment, he explained, members of the public are provided with the opportunity (through the museumrsquo;s programs) to make personal, better-informed judgements and choices about the past and the future respectively. Bennett (1995) noted that

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