Abstract
As políticas europeias do património promoveram, nas últimas décadas, narrativas de integração e partilha de um património comum, consolidando o que vários autores designaram por Europeização. O projeto Casa da História Europeia (2007), promovido pelo então Presidente do Parlamento, inscreve -se nesta dinâmica, afirmando -se como potencial agregador dos povos e da identidade europeia, e aspirando simultaneamente representar comunidades distintas através de categorias transnacionais. Porém, à luz dos recentes eventos que têm sucessivamente ameaçado a coesão europeia, importa investigar a dificuldade de representação de uma História da Europa, necessariamente múltipla, interrogando: que narrativas encontramos no museu (inaugurado em maio de 2017) e que territórios de exclusão, de pertença ou de (in)visibilidade podemos delimitar? De que forma este novo museu transnacional pretende transmitir o conhecimento da história do continente, dos seus Estados, dos seus cidadãos e da União? De que forma participa a Casa da História Europeia na política cultural de Europeização de uma memória histórica e qual a sua eficácia enquanto instrumento de aproximação dos cidadãos às instituições e ao projeto europeu? Este artigo – que tem na base um programa de Doutoramento em História da Arte com especialização em Museologia e Património Artístico – numa perspetiva de estudos de museus e culturais, mapeará a instalação e conteúdo deste novo museu face às crises europeias, procurando compreender o posicionamento ideológico da Casa da História Europeia, e questionando o modo como um museu pode debater e/ou transmitir o que significa, hoje, ser -se (ou não) europeu.
In the last few decades, European heritage policies have been promoting narratives of integration and sharing of common heritage, consolidating what various authors designated by Europeization. The project House of European History (2007), promoted by the then President of Parliament, is part of this dynamic, affirming itself as a potential aggregator of peoples and of the European identity, and simultaneously aspiring to represent distinct communities through transnational categories. However, in the light of the recent events which have successively threatened the European cohesion, it is important to investigate the difficulty in representing a European history, necessarily multiple, inquiring: what narratives do we find in the museum (inaugurated in May 2017) and which territories of exclusion, belonging or (in)visibility can we delimit? How does this new transnational museum intend to transmit the knowledge of the history of the continent, its States, its citizens and the Union? In what way does the House of European History participate in the cultural policy of Europeization of a historic memory and what effectiveness does it have as an instrument for bringing citizens closer to the institutions and to the European project? This paper, within the scope of a PhD program in History of Art with a specialization in Museology and Artistic Heritage, from a perspective of museum and cultural studies, will map the installation and content of this new museum given the European crises, trying to understand the ideological positioning of the House of European History, and questioning how a museum can debate and/or transmit what it means today to be (or not) European.
In the last few decades, European heritage policies have been promoting narratives of integration and sharing of common heritage, consolidating what various authors designated by Europeization. The project House of European History (2007), promoted by the then President of Parliament, is part of this dynamic, affirming itself as a potential aggregator of peoples and of the European identity, and simultaneously aspiring to represent distinct communities through transnational categories. However, in the light of the recent events which have successively threatened the European cohesion, it is important to investigate the difficulty in representing a European history, necessarily multiple, inquiring: what narratives do we find in the museum (inaugurated in May 2017) and which territories of exclusion, belonging or (in)visibility can we delimit? How does this new transnational museum intend to transmit the knowledge of the history of the continent, its States, its citizens and the Union? In what way does the House of European History participate in the cultural policy of Europeization of a historic memory and what effectiveness does it have as an instrument for bringing citizens closer to the institutions and to the European project? This paper, within the scope of a PhD program in History of Art with a specialization in Museology and Artistic Heritage, from a perspective of museum and cultural studies, will map the installation and content of this new museum given the European crises, trying to understand the ideological positioning of the House of European History, and questioning how a museum can debate and/or transmit what it means today to be (or not) European.
Translated title of the contribution | House of European history: essay for a guided tour to the pan-european museum |
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Original language | Portuguese |
Title of host publication | A Europa do Conhecimento |
Editors | Alice Cunha, Maria Fernanda Rollo, Maria Manuela Tavares Ribeiro |
Place of Publication | Coimbra |
Publisher | Universidade de Coimbra |
Pages | 249-287 |
Number of pages | 38 |
ISBN (Electronic) | 978-989-26-1634-6 |
ISBN (Print) | 978-989-26-1633-9 |
DOIs | |
Publication status | Published - 2019 |
Event | VI Encontro Anual A Europa e o Mundo. A Europa do Conhecimento - Biblioteca Palácio Galveias, Lisboa, Portugal Duration: 5 Apr 2018 → 6 Apr 2018 |
Conference
Conference | VI Encontro Anual A Europa e o Mundo. A Europa do Conhecimento |
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Country/Territory | Portugal |
City | Lisboa |
Period | 5/04/18 → 6/04/18 |
Keywords
- História da Europa
- Memória e Identidade
- Públicos e Museus
- European History
- Memory and Identity
- Publics and Museums