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e form of self-governance. It was an active component in the eighteenth century culture of taste and played a major role in the subsequent development of the art museum, providing the discursive ground on which it was to discharge its obligations as a reformatory of public morals and manners. As the public museum exemplified the development of a new governmental relation to culture, works of high culture were treated as instruments enlisted in new ways for tasks of social management, aiming at reshaping social behavior. Museum cultural technologies aim to organize a voluntarily self-regulating citizenry, and culture was produced as an autonomous realm to work as a moralizing, improving force on the population, to materialize the power of the ruling classes, promoting a general acceptance of ruling-class cultural authority. Besides, Bennett considered how guides might best perform their function of imparting knowledge to a general public with varying levels of education. These technologies made the visitor to become the subjects rather than the objects of knowledge, in seeing themselves from the side of power, both the subjects and the objects of knowledge. Through interiorizing its gaze of self-surveillance, hence, they developed the ability of self-regulation (Bennett 1988a). As it turned out, the museum speaks to the ears as well as the eyes.

 

2.2.1.4 Civilizing People

 

The governmentality of public museum as cultural institution is concerned with ‘disciplining’ and ‘civilizing’ audiences. Compare with Foucault’s research on the prison which is oriented to discipline and punishment so as to effecting a modification of behavior, than the museum is oriented to show and tell, so that the people might look and learn.

 

In the beginning of the industry time, the working poor were treated differently from those individuals with privilege whom claimed with morality. It is thought that ‘they could not govern themselves, but to be governed from above’ (M. Poovey.1995). The influence of Malthusian placed a premium on the need for working class men to develop new forms of self-restraint. Romantic conceptions of art allowed the sphere of the aesthetic to be thought of as a resource for harmonizing the person, to achieve the effect of body politics. On the basis of evolutionary principles, Huxley advocated to develop a public didactics which converted the lessons of nature into a morality directed at the working man. He denied that nature could furnish a template for morality just as he also denied that the laws of natural evolution could provide any guarantee for the continued furtherance of social evolution. Huxley argued in Evolution and Ethics (1894), it was equally true that natural processes of competition stood in need of a cultural supplement if they were to serve as a template for social development (Bennett 1998b:27-28). The task of the continuing reformation of society in accordance with meritocratic principles by stimulating a ‘regulated restlessness’ that both encouraged progress as a moral imperative while simultaneously curbing it within limits consistent with the principles of gradual social ev本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。