ABSTRACT

Recent reflection on the role of museums and galleries has focused on their socially situated nature; and that as a social construct, co-produced with its audiences, heritage is in part discursively constituted. This has included acknowledgement that the inherited discourse is hegemonic and exclusive of divergent narratives, leading to moves to create alternatives to contest it, which include temporary exhibitions. These provide a potentially democratic space for discursive incursions freed from the constraints of the permanent museum. But they are also spatially and temporally peripheral, occupying a discursive space outside the standard visit. This raises questions as to whether, once the exhibition is over, the alternative will be subsumed once more. This article explores this issue using a dataset of TripAdvisor reviews to analyse the discursive responses of visitors to temporary and permanent collections, using the Musée d’Orsay's 2019 exhibition Le Modèle Noir as a case study. Analysis shows that Le Modèle Noir reviews exhibit greater discursive fragmentation, reveal a relative lack of appeals to collective identity, and do not connect the exhibition with the permanent collection. Potential implications of this for initiatives that seek to counter the hegemonic narrative are discussed.

摘要

最近对博物馆和画廊作用的反思集中在它们的社会地位性质上。并且作为一种社会建构，与观众共同产生，遗产部分是话语构成的。这包括承认继承的话语是霸权的并且排斥不同的叙述，导致采取行动创造替代方案来对抗它，其中包括临时展览。这些为摆脱永久博物馆限制的话语入侵提供了潜在的民主空间。但它们在空间和时间上也是外围的，占据了标准访问之外的话语空间。这就提出了一个问题，即一旦展览结束，替代品是否会再次被纳入。Le Modèle Noir作为案例研究。分析表明，《黑色模式》评论表现出更大的话语碎片化，揭示了相对缺乏对集体身份的吸引力，并且没有将展览与永久收藏联系起来。讨论了这对寻求对抗霸权叙事的倡议的潜在影响。