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stitution of museum as part of the state apparatus, focusing on analysis the mechanism of museum and its function related to population governance. He borrowed the term - ‘political rationality’ from Foucault to analyze the legibility of museum of its operation both as artifacts collection and the vehicle for civic education. After his thorough discussion on the political rationality of museum, Bennett put forward the conception of museum politics. As he argued that, ‘I want to advance a conception of museum politics which, aim to dismantle the space of the museum by establishing a new set of relations between the museum, its exhibits and its publics which would allow it to function more adequately as an instrument for the self-display of democratic and pluralist societies’ (Bennett 1995a:102). Considering the principle of the adequacy of museum representation, Bennett points out that since its goal is unachievable, it is better to transform the relations between museum exhibits, organizers and the museum visitors.

 

Bennett emphasizes the construction of an active role of the visitors. He believes that if visitors are capable to read the information of museum exhibition in the right way, as a lesson in ruling-class rhetoric rather than as an object lesson in things, even the most conservatively organized museum can be put to good use. As he pointed out, few museums draw attention to the assumptions which have informed their choice of what to preserve or the principles which govern the organization of their exhibits; similarly, few visitors have the time or inclination to look beyond what museums show them to ponder the significance of how they show what they show (Bennett 1988b). An appropriately altered social order concerns the ways in which reconfigurations the objects relations, and the relations between objects and persons. The question of how things get displayed in museums cannot be divorced from questions concerning the training of curators or the structures of museum control and management. Bennett suggests the role of the curator to change their role, to shift away from that of the source of an expertise in organizing a representation and claiming the status of knowledge, towards the possessor of a technical competence to assist people with their learning from the museum. In the modern context of multi-discourse, the museum has functioned as a site to embrace plural and differentiated statements and culture, enabling it to function as an instrument for public debate.

 

Bennett combines Gramscian paradigm with Foucaultian approach to consider the relations between state and people, and takes it as an antidote to the one eyed focus of the Foucaultian approach to regard museum as instruments of discipline. To see from the Gramsci perspective, the museum involved a rhetorical incorporation of the people within the processes of power. The pedagogic effect of museum is a good example of what Gramsci considered the state to be conceived as an ‘educator’. However, from the Gramscian paradigm, the museum are represented as instruments of ruling class hegemony, as amenable to the governing cultural politics, thus museums are supposed to forge new articulations capable of organizing a counter-hegemony (Bennet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。