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The relationship between museum and society has been one of the most important subjects in the field of museology and art history. The new museology was an expression of such long concern but a critical approach to the established museology, which centered on the socio-ontological problems of museum rather than technical and methodological problems. ICOM’s newest slogan “social harmony” is also a product of such an socioontological turn triggered by the new museology.
By the way, what is new museology? How the new museology changed the relationship between museum and society? The New Museology(1989) edited by Peter Vergo has been generally understood as the declamation of new museology, but the range of new museology is not limited to this one origin or practice but includes multiple and interdisciplinary thoughts and practices all around the world. So I intended to revisit the new museology with various approaches and practices that I interpreted with three kinds; first, museum as social metaphor characterized by the expansion of market principle, second, the ubiquity of museum power which penetrates everywhere through the sociopolitics of gaze, especially with Tony Bennett’s Foucauldian museum visitor studies and Barbara Kirshenblatt-Gimblett’s concept of museum effect from anthropological approach, third, new museology as a social movement that has been actively discussed in Latin America and created new community-based museum models.
I think the recent ICOM’s slogan“ social harmony” is the mixed product of those different new museologies, and so it has no choice but to including conflicting and inconsistent issues within itself. Therefore, I think we have to scrutinize those complex new museological practices because we live in the age when the social engagement of museum is demanded more intensively than ever before and the raison d’etre of museum will be located in the social relationship more and more. This literature is a kind of introduction for such a scrutinizing and needs a lot of follow-up studies, for example, the community-based new museologies that is more important contemporary issue than anything else, which will open up interdisciplinary areas between museology and art history.
By the way, what is new museology? How the new museology changed the relationship between museum and society? The New Museology(1989) edited by Peter Vergo has been generally understood as the declamation of new museology, but the range of new museology is not limited to this one origin or practice but includes multiple and interdisciplinary thoughts and practices all around the world. So I intended to revisit the new museology with various approaches and practices that I interpreted with three kinds; first, museum as social metaphor characterized by the expansion of market principle, second, the ubiquity of museum power which penetrates everywhere through the sociopolitics of gaze, especially with Tony Bennett’s Foucauldian museum visitor studies and Barbara Kirshenblatt-Gimblett’s concept of museum effect from anthropological approach, third, new museology as a social movement that has been actively discussed in Latin America and created new community-based museum models.
I think the recent ICOM’s slogan“ social harmony” is the mixed product of those different new museologies, and so it has no choice but to including conflicting and inconsistent issues within itself. Therefore, I think we have to scrutinize those complex new museological practices because we live in the age when the social engagement of museum is demanded more intensively than ever before and the raison d’etre of museum will be located in the social relationship more and more. This literature is a kind of introduction for such a scrutinizing and needs a lot of follow-up studies, for example, the community-based new museologies that is more important contemporary issue than anything else, which will open up interdisciplinary areas between museology and art history.
목차
Ⅰ. 서론: ‘사회적 조화’라는 슬로건의 등장
Ⅱ. 신박물관학의 대두와 사회적 은유로서의 박물관
Ⅲ. 푸코적 전환과 사회적 통치기구로서의 박물관
Ⅳ. 박물관 권력의 편재성: 박물관 판옵티콘의 시각 정치
Ⅴ. 또 다른 경로: 사회를 변화시키는 박물관, 사회운동으로서의 박물관학
Ⅵ. 결론
참고문헌
Abstract
참고문헌 (34)
참고문헌 신청
1. [단행본] - 기 드보르 / 1996 / 스펙타클의 사회 / 현실문화연구
2. [단행본] - 마크 치담 / 2007 / 미술사의 현대적 시각들: 해체주의에서 퀴 어이론까지 / 경성대학교출판부
3. [학술지(정기간행물)] - 박소현 / 2009 / 미술의 공공성을 둘러싼 경합의 위상학-일본에서의 미술가 · 비평가 탄생에 대한 재해석 / 한국근현대미술사학(구 한국근대미술사학) (20) : 117 ~ 134
4. [학술지(정기간행물)] - 손정훈 / 2007 / 인터프리테이션 개념의 프랑스내 수용과 발전과정 : 박물관과 역사유적내 교육 활동의 새로운 양상 / 프랑스문화예술연구 22 (4) : 121 ~ 138
5. [단행본] - 윤난지 / 2002 / 전시의 담론 / 눈빛
2. [단행본] - 마크 치담 / 2007 / 미술사의 현대적 시각들: 해체주의에서 퀴 어이론까지 / 경성대학교출판부
3. [학술지(정기간행물)] - 박소현 / 2009 / 미술의 공공성을 둘러싼 경합의 위상학-일본에서의 미술가 · 비평가 탄생에 대한 재해석 / 한국근현대미술사학(구 한국근대미술사학) (20) : 117 ~ 134
4. [학술지(정기간행물)] - 손정훈 / 2007 / 인터프리테이션 개념의 프랑스내 수용과 발전과정 : 박물관과 역사유적내 교육 활동의 새로운 양상 / 프랑스문화예술연구 22 (4) : 121 ~ 138
5. [단행본] - 윤난지 / 2002 / 전시의 담론 / 눈빛
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