A widespread link between the process of nation-building and the rise of museums is evident in late-nineteenth-century Latin America. The Chilean National Historical Museum (MHN) was founded in 1873 with the purpose of exhibiting the nation's heritage, beginning with the Spanish colonization. This article focuses on examining the narrative displayed in the MHN, particularly the silences surrounding the Indigenous Mapuche. It analyzes the implications this absence brings to the collective memory of the nation. Using museum catalogs, newspapers, and nineteenth-century literature, this research traces the contrast between how Indigenous and colonial artifacts are exhibited in the museum, wherein the Mapuche are framed aesthetically, therefore relegating them to the past. By stripping from them any contemporary existence, the Mapuche are relegated to an anecdote of ancient times. I document how the primary collection of the museum reproduces a narrative by which European heritage is the starting point of the nation's progress, silencing the voice of Mapuche history and hence producing a script that lacks a nuanced understanding of Chile's Indigenous reality. At a time when Chile is experiencing violent conflict in the Araucanía region, the MHN obscures Mapuche identity and inhibits a dialogue between Indigenous communities and the state. [museum, Mapuche, national identity, colonialism, Indigenous]

中文翻译：

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智利国家历史博物馆中塑造马普切人记忆的寂静

在 19 世纪晚期的拉丁美洲，国家建设过程与博物馆兴起之间存在着广泛的联系。智利国家历史博物馆 (MHN) 成立于 1873 年，旨在展示从西班牙殖民时期开始的国家遗产。本文重点研究 MHN 中显示的叙述，尤其是围绕土著马普切人的沉默。它分析了这种缺席对国家集体记忆的影响。这项研究使用博物馆目录、报纸和 19 世纪的文献，追溯了博物馆中展示土著和殖民文物的方式之间的对比，其中马普切人被美学地框起来，因此将它们归为过去。通过剥夺他们任何当代存在，马普切人沦为古代轶事。我记录了博物馆的主要藏品如何再现欧洲遗产是国家进步的起点的叙述，消除马普切历史的声音，从而产生对智利土著现实缺乏细致入微的理解的剧本。在智利在阿劳卡尼亚地区经历暴力冲突之际，MHN 掩盖了马普切人的身份，并阻止了土著社区与国家之间的对话。[博物馆，马普切，民族认同，殖民主义，土著] 沉默马普切历史的声音，因此制作的剧本缺乏对智利土著现实的细致入微的理解。在智利在阿劳卡尼亚地区经历暴力冲突之际，MHN 掩盖了马普切人的身份，并阻止了土著社区与国家之间的对话。[博物馆，马普切，民族认同，殖民主义，土著] 沉默马普切历史的声音，因此制作的剧本缺乏对智利土著现实的细致入微的理解。在智利在阿劳卡尼亚地区经历暴力冲突之际，MHN 掩盖了马普切人的身份，并阻止了土著社区与国家之间的对话。[博物馆，马普切，民族认同，殖民主义，土著]