Museum artifacts, have you only one life ?

Grognet, Fabrice

doi:10.4000/gradhiva.473

Cited by 14 publications

(9 citation statements)

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“…In contrast, the strings often presented pronounced use-wear, leading to the shedding of fibers and breakage. Most studied ethnographic ornaments have a long postcollection biography, during which they belonged to three different museums: the Musée d'Ethnographie du Trocadéro, the Musée de l'Homme, and, lastly, the Musée du quai Branly (Delpuech and Roux 2015;Delpuech et al 2013;Grognet 2005). As demonstrated elsewhere (Falci et al 2017a;also Breukel et al, in prep.…”

Section: State Of Preservationmentioning

confidence: 98%

New Insights into Use-Wear Development in Bodily Ornaments Through the Study of Ethnographic Collections

Falci

Cuisin

Delpuech

et al. 2018

J Archaeol Method Theory

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The use of microwear analysis has made substantial contributions to the study of archaeological bodily ornaments. However, limitations persist with regard to the interpretation of use and the reconstruction of systems of attachment, hampering a holistic understanding of the diversity of past bodily adornment. This is because the complexities of ornament biographies and the resulting wear traces cannot be grasped exclusively from the study of experimental reference collections. In this paper, we propose to bridge this gap in interpretation by systematically researching ethnographic collections. We conducted a microscopic study of 38 composite ornaments from lowland South America housed at the Musée du quai Branly (Paris). These objects involve organic, biomineral, and inorganic components, attached through different string configurations. The combined use of optical and 3D digital microscopy at different magnification ranges provided a thorough understanding of wear trace formation, distribution, and characterization. We demonstrate how individual beads develop characteristic use-wear in relation to one another and to the strings. We further challenge common assumptions made in the analysis of archaeological ornaments. In sum, this research addresses methodological and interpretative issues in the study of bodily adornment at large, by providing insight into the biographies of objects that were actually worn in a lived context. In the future, our results can be applied as reference for a more effective understanding of the use of ornaments worldwide.

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Section: State Of Preservationmentioning

confidence: 98%

New Insights into Use-Wear Development in Bodily Ornaments Through the Study of Ethnographic Collections

Falci

Cuisin

Delpuech

et al. 2018

J Archaeol Method Theory

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“…Their value as documents simultaneously imbued them with a distinctive moral force and authority as governmental objects of a particular kind. This force, Christine Laurière has argued, derived from the "environmentalist conception of the object" (Grognet 2005;Laurière 2008, 416) in which the object bears testimony both to the force of environmental factors that shaped it and to the creativity of human practice. When translated into the somewhat austere principles of the Musée de l'Homme's muséographie claire, 8 this conferred on the Musée de l'Homme's anthropological objects a distinctive pedagogic quality that aimed to foster respect for other cultures as evidencing a shared human capacity for creativity.…”

Section: Museum-field-museummentioning

confidence: 98%

Liberal Government and the Practical History of Anthropology

Bennett¹

2014

History and Anthropology

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“…O Muséum nacional de história natural, em Paris, foi responsável pela institucionalização do domínio da história natural, ciência fundada em coleções de espécimes e objetos materiais, desde 1793. Ele procurava um modelo metodológico a se seguir para uma descrição científica dos povos, e aproximou a etnografia das ciências naturais(Grognet, 2005: 3).8 O número de objetos passa de 6.000, em 1880, a 100.000 em 1920.9 Paul Rivet (1876-1958) era professor no Muséum national d'histoire naturelle quando foi designado diretor do Musée d'Ethnographie, no momento de sua reformulação. A partir de meados da década de 1930 ele desenvolveria o projeto do Musée de l'Homme, que iria dirigir a partir de 1937.…”

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Patrimônio Íntimo: a experiência do autêntico nas artes primeiras

Brulon¹

2016

M&I

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O patrimônio etnográfico, reapresentado aos olhos europeus como “artes primeiras”, para ser pensado como “arte”, deve ser “autentificado” por um conjunto de valores específicos. O artigo analisa, do ponto de vista da sociologia dos valores, a gramática axiológica, como proposta na obra de Nathalie Heinich, que leva objetos do patrimônio a serem percebidos como “artes primeiras” na Europa, e particularmente no caso do Musée du quai Branly, na França. Considerando uma revisão dos referenciais utilizados para pensar a autenticidade no campo da Museologia e do Patrimônio, o artigo propõe a perspectiva axiológica para investigar a patrimonialização e a musealização como processos sociais.

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Museum artifacts, have you only one life ?

Abstract: Objets de musée, n'avez-vous donc qu'une vie ?

Cited by 14 publications

References 1 publication

New Insights into Use-Wear Development in Bodily Ornaments Through the Study of Ethnographic Collections

New Insights into Use-Wear Development in Bodily Ornaments Through the Study of Ethnographic Collections

Liberal Government and the Practical History of Anthropology

Patrimônio Íntimo: a experiência do autêntico nas artes primeiras

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