20.500.12556/RUL-22439 Fotografija v muzeju kot arhiv kolektivnega spomina: ljubezen do zgodovine Avtorica se v članku loteva kritične analize oblikovanja kolektivnega spomina v muzejskih fotografskih reprezentacijah, pri čemer ji izhodišče za analizo predstavlja Bourdieujevo teoretsko delo. Kolektivni spomin obravnava kot rezultat reprezentacij preteklosti, ki krožijo v družbi, muzej pa kot medij inkot kraj spomina, ki ponuja selektivne podobe preteklosti in na ta način upravlja s spomini. Da bi razkrila funkcije in vloge, ki jih opravljajo fotografije v muzejih pri interpretiranju preteklosti, avtorica analizira dve konkretni muzejski razstavi, ki predstavljata isti zgodovinski dogodek (plebiscit na Koroškem leta 1920), a z drugega zornega kota - to sta muzeja v Libeličah v Sloveniji in v Völkermarktu/Velikovcu v Avstriji. Ugotavlja, da se fotografija v obeh muzejih odločilno vpleta v boje za oblast nad interpretacijo tega dela preteklosti, saj vsaka muzejska razstava vizualno legitimira določeno definicijo preteklih dogajanj in s tem tudi nacionalne razlike. Vizualne reprezentacije obeh muzejev politizirajo preteklost, saj je zgodovina uporabljena tudi v namene reproduciranja državotvornih diskurzov. The article is an attempt of critical analysis of the construction of collective memory through museum photographic representations, whereby Bourdieu's theoretical work serves as the starting-point of the analysis. Collective memory is dealt with as a result of representations of the past that circulate in society, while museum is treated as a medium and as a site of memory that offers selective images of the past and thereby shapes memories. In order to disclose the functions and roles that museum photography performs in interpreting the past, the authoress analyses two concrete museum exhibitions that represent the same historical event (the 1920 plebiscite in Carinthia), but from different perspectives; the museum in Libeliče in Slovenia and the one in Völkermarkt/Velikovec in Austria. The authoress ascertains that photography in both museums is crucially involved inthe struggles for the dominant position in the interpretation of this part of the past, because each of these museum exhibitions visually legitimizes specific definition of the past events and also of the still valid national differences. The past is in the museums politicized through visual representations and the history is used for the reproduction of the two contesting state-building discourses - the Slovenian and the Austrian one. true false false Slovenski jezik Neznan jezik Delo ni kategorizirano 2014-07-11 14:26:33 2014-07-11 14:26:33 2022-06-02 03:50:26 0000-00-00 00:00:00 2005 0 0 Str. 408-429 št. 2/3 Letn. 42 apr./jun. 2005 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 316.7 0040-3598 24244061 http://dk.fdv.uni-lj.si/db/pdfs/tip20052-3_Pusnik.pdf 1 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=22439 Fakulteta za družbene vede Teorija in praksa 0 0 0