| 000 | 03013cam a2200301 4500500 | ||
|---|---|---|---|
| 005 | 20250123125206.0 | ||
| 041 | _afre | ||
| 042 | _adc | ||
| 100 | 1 | 0 |
_aSaurier, Delphine _eauthor |
| 700 | 1 | 0 |
_a Ghlamallah, Sarah _eauthor |
| 245 | 0 | 0 | _aSouplesse et permanence de la médiation culturelle |
| 260 | _c2016. | ||
| 500 | _a30 | ||
| 520 | _aÀ l’heure de la politique des publics, de la segmentation d’une partie de l’offre de médiation culturelle et de la montée en puissance d’usages plus individualisés, comment le principe d’une médiation culturelle grand public est-il envisagé et appréhendé au musée ? L’article propose une réflexion sur le sujet à partir de l’analyse de données issues d’un travail de recherche empirique mené au musée du Louvre, explorant un dispositif de médiation culturelle en particulier : la visite découverte. En identifiant un triple cadre (de l’institution, des conférenciers et des pratiques de réception des visiteurs), il montre comment, pour certains de ses acteurs (conférencier et visiteurs), les usages et les enjeux de la visite découverte aboutissent à un phénomène de concrétion, assurant la stabilité du dispositif muséal dans un contexte pourtant en forte évolution. | ||
| 520 | _aThe public outreach programmes offered by cultural institutions are increasingly based on a targeted understanding of their end users. Museums are shifting their focus towards the more inclusive idea of a multiplicity of audiences, which all need to be included. Simultaneously, museums recognize the rise of individualised visitor practices. In this context of segmentation and individualisation, this article aims to explore the way in which the seemingly overlooked notion of a general public continues to inform both the work of museum professionals and the experience of museum visitors. This discussion is based on a case study of the ‘introductory guided tour’ at the Louvre Museum. The data reflects both the unique traits and the consistent patterns in the interrelated practices of the museum staff and the visitors involved in this guided tour. By looking at three distinct but intertwined frames (the institution, the museum professionals, and the visitors), the article argues that the experience of the “introductory guided tour”, its actualisations of the notion of a general public, and its appropriations by the visitors, remain relatively stable despite the rapidly evolving museum context. | ||
| 690 | _amédiation culturelle | ||
| 690 | _avisite guidée | ||
| 690 | _amusée du Louvre | ||
| 690 | _apolychrésie | ||
| 690 | _apublic | ||
| 690 | _aguided tour | ||
| 690 | _aLouvre Museum | ||
| 690 | _aaudiences | ||
| 690 | _avisitor studies | ||
| 690 | _aoutreach strategies | ||
| 786 | 0 | _nQuestions de communication | 28 | 2 | 2016-03-03 | p. 251-272 | 1633-5961 | |
| 856 | 4 | 1 | _uhttps://shs.cairn.info/revue-questions-de-communication-2015-2-page-251?lang=fr&redirect-ssocas=7080 |
| 999 |
_c810946 _d810946 |
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