Download The Museum in Transition: A Philosophical Perspective by Hilde S. Hein PDF

By Hilde S. Hein

EPUB eISBN: 9781588344106
Original ebook: 2000
Electronic booklet: 2014

During the earlier thirty years, museums of every kind have attempted to develop into extra aware of the pursuits of a various public. With exhibitions turning into people-centered, idea-oriented, and contextualized, the bounds among museums and the "real" global are eroding. atmosphere the transition from object-centered to story-centered exhibitions in a philosophical framework, Hilde S. Hein contends that glorifying the museum event on the cost of items deflects the museum's educative, moral, and aesthetic roles. pertaining to associations starting from paintings museums to subject matter parks, she indicates how deployment has changed accumulating as a target and discusses how museums now actively form and create values.

About the Author-
Hilde S. Hein is an affiliate professor emerita of philosophy on the collage of the Holy go and the writer of The Exploratorium: The Museum as Laboratory.

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Additional resources for The Museum in Transition: A Philosophical Perspective

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The excuse, that she’s concentrating on keeping him alive, puts her in direct competition for the Terminator’s role, and body . . And while she is focusing on being a super-soldier, the Terminator is working on being a better mom, listening to and playing with the son that Sarah hardly notices for all the weapons she’s carrying. (Jeffords 1993: 249–50) That the cyborg Schwarzenegger can be read as the more feminine role is an indication of how overdetermined our cultural notions of appropriate gender behavior are.

Yet the argument advanced by some critics that these characters are simply “men in drag” undermines the revelatory possibilities of women assuming these roles. If a female character seen as kicking ass must be read as masculine, then women are systematically denied as a gender capable of behaving in any way other than passive. La Femme Nikita and Point of No Return take women in action movies a step beyond by not assuming a masculine identity in kicking ass, but by remaining garbed in obvious signifiers of femininity.

Her most fundamental example of gender parody can be found in drag: “In imitating gender, drag implicitly reveals the imitative structure of gender itself—as well as its contingency” (137). Butler’s theory of gender subversion sees drag as laying bare the artificiality of established conventions. As an obvious performance of gender not “naturally” linked to a biological “truth” of the performer, drag subverts and destabilizes gender essentialism from within the system. Rather than falling under the illusion of opting out of gender categories, drag makes do with the tools at hand.

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