قدرت پنهان روایت در فضای نشاندار موزه

در باور ایرانی روایت‌های موزه‌ای روش‌هایی برای کشف و تولید معنا هستند. ابزار تولید روایت‌های موزه‌ای در موزه‌ها فقط متن‌ها نیستند، بلکه هر یک از کنش‌های موزه‌ای مانند انتخاب اشیاء، چیدمان، دسته‌بندی و موارد مشابه به بازدیدکننده جهت می‌دهد تا در مسیر یک داستان متفاوت حرکت کند. جستار حاضر، میان داستان‌های تاریخی که ادعا می‌کنند خنثی و بی‌طرف «حقیقت» را در مورد گذشته بیان می‌کنند و روایت، تمایز قائل می‌شود. این پژوهش با رویکردِ انتقادی تحلیل گفتمان، روایت‌های موزه‌ای را بررسی می‌کند. به باور نگارنده، مستندسازی فرهنگی و تولید روایت‌ها، باید به‌ عنوان یکی از شیوه‌های سیاسی تولید دانش و فرآوردة روابط قدرت دیده شوند. پژوهش حاضر، افزون بر بررسی قدرت‌ پنهان روایت‌ها، آن‌ها را برساختی اجتماعی و فرآوردة گفتمان‌ها دانسته و چالش‌ها و فرصت‌های تولید و بازتولید روایت‌های موزه‌ای را بررسی می‌کند. این جستار، اهمیت روایت‌ها را در مشروعیت‌بخشی، انسجام‌بخشی، روایت‎های حساس در کانون‌های تقاطع-فرهنگی و حضور فعال و مشارکتی مخاطب در بازتولید روایت‌های «دموکرات» در موزه‌های عصر حاضر بررسی می‌کند. بنا بر یافته‌های پژوهش، با ورود به فضای نشان‌دار موزه، کشمکش در سطح اجتماعی و فردی بر سر تولید معانی آغاز می‌شود، و روایت‌های هژمونیک فرآورده‌ای تاریخی و فرهنگی و حاصل کشمکش میان گفتمان‌ها و روایت‌های خرد و کلان تصادفی پیرامون متن موزه‌ هستند.

the hidden power of narrative in the symbolic space of museum

museum narratives are ways to discover and produce meaning. the tools for producing museum narratives in museums are not only texts, but each museum action including selecting the objects as well as arranging and categorizing them, directs the visitor to move towards a different story. the present study makes a distinction between narrations and historical stories that claim to tell the “truth” about the past neutrally and without any bias. this study investigates museum narratives with a critical discourse analysis approach. according to this research, cultural documentation and production of narratives are required to be seen as one of the political methods of knowledge production and the outcome of power relations. while investigating the hidden power of narratives, the present study considers them as social constructions and the outcomes of various discourses, and investigates the challenges and opportunities of producing and reproducing museum narratives. the present essay investigates the importance of narratives in legitimizing, integrating the sensitive narratives in cultural intersection centers and the active and participatory presence of the audience in the reproduction of “democratic” narratives in the modern museums. according to the results of the present study, upon entering the marked space of the museum, the conflict on the social and individual level over the production of meanings begins, and the hegemonic narratives are a historical and cultural product and the result of the conflict between discourses and random micro and macro narratives around the museum text.the present study investigates the discursive nature of museums and museum narratives with the philosophical and theoretical assumptions of the theoretical framework of discourse analysis and reviews the challenges and opportunities of producing and reproducing narratives as a social construct and an outcome of various discourses. according to the understanding that was obtained from the common assumptions of the discourse analysis approaches, as soon as one enters the symbolic space of the museum, the conflict at the social and individual level over the production of meanings begins. entering the discursive space of a museums is entering the conflicting field of museum discourses against each other and in the competition for the right to define the correct proposition and “truth”. finally, hegemonic narratives, which are historical and cultural products and the results of the conflict between micro and macro narratives, give meaning to objects, categorizations, identities, etc. in a museum.in recent years, several views have been proposed about how narratives are produced in different situations. in this study, the researcher, following the related literature review of museum narratives, points out the latent power of narratives and some of the most important discourse-creating capacities of museum narratives. the present study considers the capability of narratives in four areas: legitimization, creation of coherence, cultural-intersection centers, and creation of “democratic” narratives, as decisive in favouring the modern museums.legitimizing narrativesthe museums that have been inherited from the enlightenment era have grown with the ideals of knowledge and reason. therefore, in the first versions of museums formed in the 18th century, vast collections (royal and national collections as well as natural and geological specimens, works of art, etc.) were collected from all over the world in order to respond to “curiosities” and help studying and classifying the world. (goswami, 2018). these documents and evidence collected by museums were grouped in line with our knowledge and perception of ourselves and the world around us and produced “knowledge”. the generated knowledge and classified information as “objective facts” have been dictated to visitors since the early 20th century in the form of educational labels, audio guides, and tours.in other words, what was conveyed to people as “reality” was actually a narrative built around a set of objects that were collected, purchased, contextualized, and displayed by people with different agendas, goals, and personal preferences. this style of narrative production and one-way communication between the museum and the visitor, in which the museum is an authentic source of knowledge and an ignorant audience who is open to receive any message, has been questioned. greenhill introduces this style of museum narrative production as a linear process of information and does not consider it as an ideal scenario for making meaning and learning in museums (hooper-greenhill, 2010). in recent years, in numerous ways of producing museum narratives, the study of subjectivity has become necessary (kidd, 2012). narration, as bakhtin states, is the result of the “dialogue process” between different subjects. some narration theories are based on this idea; only part of the truth is with the narrator. at least, truth is something that is to a large extent discursively constructed (foucault, 1980).coherence-making metanarrativessince the formation of the first museums, the power of nation-states has been declared through the presence and ownership of museums. early museums were often involved in the construction of national identities and played a significant role in affirming local identity and pride (macdonald, 2006). in the process of articulating identity in museums from the perspective of discourse