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Literary Museums as Part of Tradition Mediation
NODEM 2014 2.12.14 Warsaw
Niels D. Lund Associate professor, PhD
School of Library and Information Science University of Copenhagen
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Literature - in isolation - individual - armchairs and own imagination
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Literature - commons - tangible - spectaular - public space
Spoken Word Poetry Slam
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The ongoing growth of literary museums - some paper conclusions
• the cultural heritage field’s most ready concretization of literature
• the literary history field’s most user-friendly strategy
• the museum field’s most clear answer to a changing situations of language
These museums will attend to a greater part of the tradition mediation
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Literary tradition and heritage infrastructure - ways and forms of maintaining
• 1. Re-publishing/re-editing/new translations ongoing intrinsic language cultivating - and book market availability
• 2. Critic and scholar treatises/accounts/stories many formats and levels, education, printed and digital
• 3. Remediating screen and audio versions, adaptations, cartoons, computer games etc.
• 4. Space-defined/-oriented performing theatre, scenes of reading and new orality etc. - temporary
• 5. Relics cultivating museums, archives, memorials etc. - permanent
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Why literary museum is interesting challenges - contradictions - and so inquieries?
• A spiritual, aesthetic, immaterial phaenomenon - to be musealized - physical-material, visual • A mass-printed, mass copied media without place - to be made museum artefact - unique, specific
• The digtital, fluctating text/literary culture - to be balanced by place, space, simplicity
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Why is literary museums’ growth interesting
• print culture and literary tradition have lost much of its former self-evidence, authority, hierarchical order and cultural prerogative
• the long-lived communication patterns have been challenged by visual media, new orality, digital forms, other literacies etc.
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At the same time in 2000es changing/disappearing - musealization
• Literature going digital - books disappear
production - distribution - mediation - consumption
• Literature going pyhisical - into museums
exhibition artefacts, visual objects in a room
Which connection?
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Some simple explanations/causalities …
1. As and when language and literature go digital,
The physical museums of literature with space, place, visuality and tangible, non-digital material will build up
2. As and when globalization, migration, mobility, time-space separation, velocity, risks etc. increase, The need for stability, roots, tradition, community and identity will increase – and national language/literature/classics can fulfill this For both: reduction of complexity 9
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The MLA-situation ?
• The official library/archive system takes care of the society’s texts, literature, books, records
• so, special literary museums are ‘not neccesary’
- they are to be optional/surplus whipped cream
• Or can museums take the literature?
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Types and terms - a scale …
• Book museum
• Author museum
• Literary historical/biographical museum (ICLM)
• Literary museum
• Museum of literature
• Literary memorial
• Literary visiting place
------
• The same as a library or archive
• Museum as a collection of texts
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• And now many picture slides
as for the types
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Book museums
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Author museums Skien, Grimstad, Oslo Henrik Ibsen
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Author museum and home Jenle, Denmark, Jeppe Aakjær
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Author museum and home Rungstedlund, Denmark, Karen Blixen
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Author home and museum Mårbacka, Sweden Selma Lagerlöf
Preserved and staged by the author herself about 1920
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Author museum Strindberg museum (Blå tornet), Stockholm
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Literary museum Buddenbrookhaus
Lübeck
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Literary museum Museum of Innocence
Istanbul
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Literary Museum H C Andersen house Odense, Denmark
and presumed birth-house
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Literary museum Literaturmuseum der Moderne Marbach, Germany
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Literary museum - reenactment land Astrid Lindgren Värld, Vimmerby, Sweden
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Literary memorials
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Memorial - light musealization
Bebels Platz, Berlin
- tangible and intangible
book cultural heritage
1933 book burning
1995
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Urban representations - fame confirmation ligth musealization
Dublin Madrid
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Literary tours – visiting places
Jane Austen’s Hampshire Explore the county of England where Jane Austen spent most of her life. Visiting sites where she lived, worked and was inspired by plus a few places used as setting for recent films of her works!
Jane’s table
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Literary museums – mostly author museums - charateristics/varieties
• Mostly small places • Decentered, according to place, home, birth … (single artist museums) • Private ownership (partnerships) • Society/friend circle/foundation-connected • Coincide with memorial • Not much research • Small economy - little state subsidy • Some very tourist popular
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The vigorous author – the larger part of literary museums
• Popular view - the author is the most important part for a text
• A face in an anonymous society • An island in publishing-overloaded ocean • Local rooting - ‘from here he came …’
• Classic humanistic view of personality • A life story to be seen (sometimes better than the texts …)
• Genesis myth, inspiration, origin source, intentionality - aura • The visible craft - authenticity
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• Now something about
Methodology and angels
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Raisons d’être for literary museum/author museum
• to counterbalance the anonymity of the mass-printed books via nearness, unique specimens and typically handwritten things left behind
• to get the sublime, immaterial and aesthetic literary texts down to earth by attaching them to a concrete place and an ordinary world (home, bed, typewriter etc.)
• to bring out an aura of both these sides
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The museum guests at a literary museum
• They fundamentally and dedicatedly bear a large invisible ballast of reading and a beloved mental imagination universe - neither very material
• The museums have to cope with, install and visualize this;
every simple component: letters, imaginations, silence,
feelings, voices etc. must be given a sort of material form to
fascinate in the museum room (– or/and the digital room?)
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Relevant current tendencies within literary studies • The new book history - artefact – text – context
• Theories of presence - space, place and specific moment
• Theories of performance - scenes, interaction, visuality, body, literature have moved out of the book • Paratext - circulation’s texts the literary museum itself is a paratext • Literary geography - theories of place • Biography authorship and archives’ material revealing
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methodology guidelines for vitalizing literary museums - some proposals
• Securing scholarly and aesthetic literary qualifications/professionals within the institutions
• distinguishing between author and text, focusing the impact and context of the latter
• accepting author person as popular and unavoidable - thereafter deconstruct it
• focusing the non-author related components of literature and demystifying the genesis of literature
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Guidelines … continued
• accepting the wealth of available records - but not let them raise the issues
• acknowledging national identity attached to language - thereafter deconstruct it
• bringing out the modern book history paradigm with the concept of transmission
• looking after that literature is easily movable as an object
• focusing the performance potentialities and the many scenes of literary texts
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Under today’s digital conditions … obvious questions
• Is the most interesting and fascinating of the literary museums’ content the non-digital material?
• how can and must non-material digital mediations/representations/texts
operate?
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Do the e-book and the digital space ’cause’
the new social sharing and physical presence of literary life and experience ?
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Of great interest?
manuscripts X-ray picture
Heidegger 1927 Karl Jaspers 1952
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Media development Mediated Unmediated
• Dvd
• Book a.o. printing
• www-picture
• Cd
• Radio/tv
• Non og less fixed to space and place and time
• Individual and autonomous
• Theatre performance
• Reading
• Physical object
• Live-concert
• Memorial place
• Fixed to space and place – and time
• Typically collective
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Thank you!
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Gumbrechts teori om tilgang til verden
betydningskultur
• Det mentale prioriteres • Fortolkning/Betydning • Det materielle er en kilde til at ‘se
bagom’ og til at se den store kontekst
• Tanke • Kronologi/forløb
• ‘fremkaldt’ viden • Tid i lang kronologi
tilstedeværelseskultur
• Det materielle prioriteres • Tilstedevær/nærvær • Det materielle har
selvstændig substans og sanselig tilgængelighed
• Krop • Samtidighed
• ‘utilsløret’ viden • Rum
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Hvorfor er oplevelse kommet ‘mere på dagordenen’?
Fokus på læseren og receptionen (stemning, sansning, nydelse, krop, erindring …) Læserne optræder i flok/kollektiv reception (scener og krop) Bedre muligheder for at installere litteratur i Rumlige sammenhænge ( scener, litt.rejser …) Mere tværæstetik/multisanselighed – lyd/musik/billede Oplevelsessamfund/-økonomi (der er penge og øget attraktion i at producere oplevelser…) Det gør oplevelsesdesignet
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