I there any need to introduce Hugues de Varine? As Assistant Director of ICOM from 1962 to 1965 and Director until 1974, he inspired a number of (eco) museum projects around the world. After publishing extensively on his conception of museums since the 1970s (his bibliography contains over 100 works), the author is now developing a retrospective and subjective look at the New Museology, from its origins to its current objectives, notably through a series of self-published volumes of his ‘petites histoires vécues’ (personal stories and anecdotes). In this work, published in 2017 (and currently being translated into Spanish and Portuguese), Hugues de Varine expands on these reflections in a free literary form, aiming to reflect the reality of ecomuseums throughout the world drawing on his observations during his long career.1 The central premise is that these museums have often been misunderstood in literature and seen as a specifically French phenomenon, even though examples can be found in many parts of the world. To support his argument, in the first two chapters of the book, the author recalls the origin of ecomuseums and their links to the New Museology before presenting several examples of ecomuseum approaches throughout the next four chapters. We learn that these practices exist on nearly every continent, even though, as the author laments, ecomuseums are poorly documented in international literature. He then dedicates one chapter for each ecomuseum in Italy and in Brazil, which de Varine knows particularly well, arguing that the development of this museum format has been particularly successful in these two contexts thanks to the recognition of its unique characteristics.

中文翻译：

---

书评

我需要介绍 Hugues de Varine 吗？从 1962 年到 1965 年担任 ICOM 的助理主任，直到 1974 年担任主任，他启发了世界各地的许多（生态）博物馆项目。在广泛发表了自 1970 年代以来他对博物馆的概念（他的参考书目包含 100 多部作品）之后，作者现在正在对新博物馆学进行回顾性和主观性的审视，从其起源到当前的目标，特别是通过一系列自我出版了他的“petites histoires vécues”（个人故事和轶事）。在这部于 2017 年出版的作品（目前正在翻译成西班牙语和葡萄牙语）中，Hugues de Varine 以一种自由的文学形式扩展了这些反思，旨在通过他漫长的职业生涯中的观察来反映世界各地生态博物馆的现实。1 中心前提是这些博物馆在文学中经常被误解，并被视为一种特殊的法国现象，尽管在世界许多地方都可以找到例子。为了支持他的论点，在本书的前两章中，作者回顾了生态博物馆的起源及其与新博物馆学的联系，然后在接下来的四章中展示了生态博物馆方法的几个例子。我们了解到这些做法几乎在每个大陆都存在，尽管正如作者所感叹的那样，生态博物馆在国际文献中的记录很少。然后他为意大利和巴西的每个生态博物馆专门写了一章，de Varine 对此非常了解，