Forum

Forum

Please or Register to create posts and topics.

cultural perspective

I think it's worth to mention, than within the museum-project You had an interesting cultural comparison perspektive between german and french museum participants in/between 2 well establisched museum institutions in Paris and Berlin. I think is part of the analytical approach - even if you decided not to go to much in the details...

Thank you very much, Ralf, for pointing this out. I also found it highly interesting how the - for the most part - same exhibits were shown in two different contexts. What struck me most was the impact the institutional (so not the national) contexts had. In my lecture, I didn't mention that the exhibition in fact consisted of two parts that were shown on two stories of the same museum building in Paris, yet on its way from Paris to Berlin were split up: one was shown in the established German Historical Museum, while the other was shown in the smaller Friedrichshain-Kreuzberg-Museum. Talking of culture, if you know these museums, you can imagine that the style e.g. of guided tours was quite different depending on the institution. I the analysis of social interactions in my book, I did my best to show how the institutional context was 'brought about' through the way people interact (in addition to questions of e.g. financial resources etc. that ethnographic fieldwork can shed light on).

Thank you for your anwer, Yannik. The presentation end esp. the slides were really well made! To the question of cultural differences. How did you conceptualize these differeances between the institution practices - with the style concept?

Good question. In terms of data collection/generation I noticed quite different atmospheres and styles of interacting in guided tours in the different museums. So, in addition to noting my experience in ethnographic terms, in the analysis of social interactions I looked for linguistic or bodily cues. For instance, in my recordings in more established institutions I noted how a guide with a lecture-like ductus walked up and down the room with their hands folded behind their back, in contrast to looking at how guides in other settings managed to create a much more loose atmosphere. I also saw this reflected in one case in which I spoke to the same member of museum staff at occasions in two different museums and she addressed me with the more distant and formal German "Sie" in one vs the more familiar "Du" in the other with switching back to the "Sie" in the more established institution. In terms of conceptualising different cultural practices, I found that some participants clearly distinguished between "high" and "low" or "popular" culture parts of the exhibition project. In more general terms in the conclusion of my book I situate the different parts of the exhibition on axes of materiality and hierarchy regarding whether guides and visitors contextualise exhibits as referring to something factual (e.g. tangible) or rather ideational (e.g. discursive representation) and as something general (e.g. the entire nation) or rather specific (e.g. a single person). Feel free to send me a an e-mail (yannik.porsche[at]unibw.de), if you would like to have a look into my book.