Unsettling the Classification of Nature, Culture and History

Caitlin Gordon-Walker

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Unsettling the Classification of Nature, Culture and History

机译：破坏自然，文化和历史的分类

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This paper examines the implications of the categorical separation between Nature, Culture and History that is common in Western museums. It focuses on the Royal British Columbia Museum’s (RBCM) configuration of galleries, which separates, first, the human from the natural world, and, second, First Peoples from modern history. With the basic structure of its galleries remaining largely unchanged since the 1970s, but with significant alterations and additions, the RBCM is a palimpsest whose layers can be read in relation to the changing sociopolitical contexts and hegemonic ideals through which British Columbia has been imagined and represented. Its division of Nature, Culture and History represents a perspective entangled with European colonialism and thus reproduces colonial relations of authority, regardless of the intentions of those working within the institution. At the same time, it offers opportunities for contesting colonial legacies and rethinking what these categories might mean.

机译：本文探讨了自然，文化和历史之间绝对分离的含义，这在西方博物馆中很常见。它着重介绍皇家不列颠哥伦比亚博物馆（RBCM）的画廊配置，首先将人类与自然世界区分开，其次将第一民族与现代历史区分开来。自1970年代以来，其画廊的基本结构基本保持不变，但经过重大的改动和补充，RBCM是最苍白的，其层次可以根据不断变化的社会政治背景和霸权理想进行解读，通过这些构想和不列颠哥伦比亚省可以想象和代表。它对自然，文化和历史的划分代表了与欧洲殖民主义纠缠的视角，因此，无论机构内工作人员的意图如何，都再现了殖民地的权威关系。同时，它提供了对抗殖民遗产和重新思考这些类别可能意味着什么的机会。

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《Museum and Society》 |2019年第2期|共13页
作者
Caitlin Gordon-Walker;
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中图分类博物馆学;
关键词
colonialismdecolonizationnatureIndigenous cultureCanadian history;

机译：殖民主义非殖民化性质土著文化加拿大历史;

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Unsettling the Classification of Nature, Culture and History

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