Museum Memories: History, Technology, Art

Front Cover
Stanford University Press, 1999 - History - 325 pages
From its inception in the early nineteenth century, the museum has been more than a mere historical object; it has manufactured an image of history. In collecting past artifacts, the museum gives shape and presence to history, defining the space of a ritual encounter with the past. The museum believes in history, yet it behaves as though history could be summarized and completed. By building a monument to the end of history and lifting art out of the turmoil of historical survival, the museum is said to dehistoricize the artwork. It replaces historicity with historiography, and living history turns into timelessness.

This twofold process explains the paradoxical character of museums. They have been accused of being both too heavy with historical dust and too historically spotless, excessively historicizing artworks while cutting them off from the historical life in which artworks are born. Thus the museum seems contradictory because it lectures about the historical nature of its objects while denying the same objects the living historical connection about which it purports to educate.

The contradictory character of museums leads the author to a philosophical reflection on history, one that reconsiders the concept of culture and the historical value of art in light of the philosophers, artists, and writers who are captivated by the museum. Together, their voices prompt a reevaluation of the concepts of historical consciousness, artistic identity, and the culture of objects in the modern period. The author shows how museum culture offers a unique vantage point on the nineteenth and twentieth centuries preoccupation with history and subjectivity, and he demonstrates how the constitution of the aesthetic provides insight into the realms of technology, industrial culture, architecture, and ethics.


What people are saying - Write a review

We haven't found any reviews in the usual places.


History Lab 9 Pointing Fingers 13 Authenticity 17 Hegels
The Caesura of the Image 67 Prousts Museum 71
The Decline of Subject 95 Estheticizing the Bourgeois
Dwelling in the Nineteenth Century 115 How We Dwell
Writing the Interior 124 The Dollhouse 133 Pointillism
Nature morte 142 Camera Obscura 146 Interior and Interiority
The Interior and Its Doubles 156 Eden Indoors 161 Clues
Losing Touch 176 Material Life
Divorce Story 191 Cornucopia 192 A World of Objects
The Old and the New 202 On the Quai Voltaire in the nineteenth
Transcendentalism and Materialism 223 The Instrumental
Thoughtful Matter 247 Grandvilles Museum 250 The Skin

Other editions - View all

Common terms and phrases

About the author (1999)

Didier Maleuvre is Associate Professor of French and Comparative Literature at the University of California, Santa Barbara.

Bibliographic information