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Uppsala Universitet ”Praktiskt taget orubbade miljöer” En jämförande studie av Charlotte Berlins museum, Hallwylska museet och affektiv autenticitet Hanna Kronblad Institutionen för ABM Uppsatser inom musei- & kulturarvsvetenskap ISSN 1651-6079 Masteruppsats, 30 högskolepoäng, 2019, nr 137 Författare/Author Hanna Kronblad Svensk titel ”Praktiskt taget orubbade miljöer” – En jämförande studie av Charlotte Berlins museum, Hallwylska museet och affektiv autenticitet. English Title ”Practically Untouched Environments” – A Comparative Study between the Charlotte Berlin’s Museum, the Hall- wyl Museum and Affective Authenticity. Handledare/Supervisor Marie Steinrud Abstract The following thesis examine the former homes of Charlotte Berlin and Wilhelmina von Hallwyl, two women who in the turn of 20th century donated their homes and collections to be museums. The purpose of this essay is to examine how Charlotte Berlin’s Museum and the Hallwyl museum work with musealization and authenticity. Both Charlotte and Wilhelmina lived their life in a changing time, where emigration, industrialization and urbanization took place. They are both women from the upper-middle class but with differences such as economic ones which has an effect of the collection and the size of their homes. Further distinctions between them is that Wilhelmina was married and Charlotte was not. Wilhelmina lived in the capital of Sweden, Charlotte in the small town called Ystad. Their similarities is found in their collections of clocks, clothes, paintings and books but most of all in their determination to make their homes museums once they were gone. They sought to make sure that their changing time could be seen through their collection. By examine how this is visible in the rooms they left 137behind, it is possible to see the relationship between the props and the authentic objects. The signs of it now being a museum, as cordons and glass stands, collaborates with the presence of the former inhabitants as well as movemements, seen through objects like chairs placed slightly obliquely. This essay also establish a new term called affective authenticity, which describe and develop the sensation of the past, the relation between the imagi- nation and the reality and the connection between people, objects and the milieu, with the importance that every- thing does not have to be all authentic, but has to mediate it. This is a two year’s master thesis in Museum and Cultural Heritage Studies. Ämnesord Musealisering, autenticitet, historiska hus-museer, samlare, affektiv autenticitet, museum Key words Musialization, Authenticity, Historic houses, Collectors, Affective authenticity, Museum Titeln på uppsatsen är ett citat hämtad från Andreas Lindblom i texten”Tyresödonationen” från Fataburen: Nor- diska museets och Skansens årsbok 1933, sida 46. 2 Bildförteckning Bild 1 – Planlösning över Charlotte Berlins museum, nedervåningen 30 Bild 2 – Planlösning över Hallwylska museet. Köket finns på bottenvåningen. 32 Bild 3 – Köken hos Charlotte Berlin och Wilhelmina von Hallwyl 35 Bild 4 – Stora salongen hos Charlotte Berlin och Wilhelmina von Hallwyl 40 Bild 5 – Förmaket hos Charlotte Berlin och Wilhelmina von Hallwyls vardagssalong 44 Bild 6 – Charlotte Berlins kabinett och rökrummet hos Wilhelmina von Hallwyl 48 Bild 7 – Charlotte Berlins respektive Wilhelmina von Hallwyls sovrum 51 Alla fotografier har tagits av författaren och finns i författarens ägo förutom den på Charlotte Berlins sovrum vilken har använts med tillåtelse av museichefen Sebastian Goksör. 3 Innehållsförteckning Inledning .............................................................................................. 7 Syfte och frågeställningar .................................................................................... 8 Teoretiska utgångspunkter ................................................................. 9 Autenticitet – ett begrepp, flera definitioner ........................................................ 9 Några definitioner ....................................................................................................... 9 Affektiv autenticitet .................................................................................................. 12 Musealiseringsprocessen .................................................................................... 13 Urval och avgränsningar .................................................................. 16 Källmaterial och metod .................................................................... 18 Promenadetnografi ............................................................................................. 18 Intervju ...................................................................................................................... 19 Observation ............................................................................................................... 20 Några etiska aspekter ......................................................................................... 21 Forskningsläge ................................................................................... 22 Autenticitet ......................................................................................................... 22 Musealiseringsprocessen .................................................................................... 24 Historiska hus-museer – person och miljö i ett och samma begrepp ................. 25 Kort om borgerliga hem vid sekelskiftet 1900 ................................................... 27 Kontextualisering av museiscenen ................................................... 29 Charlotte Berlins museum .................................................................................. 29 Hallwylska museet ............................................................................................. 31 Gemensamma kulturarvsinstitutioner ................................................................ 34 De fem rummen ................................................................................. 35 Köken ................................................................................................................. 35 Analys ....................................................................................................................... 37 Stora salongerna ................................................................................................. 39 Analys ....................................................................................................................... 41 Förmaket och vardagssalongen .......................................................................... 43 Analys ....................................................................................................................... 46 Kabinettet och rökrummet ................................................................................. 47 Analys ....................................................................................................................... 49 Sovrummen ........................................................................................................ 51 Analys ....................................................................................................................... 53 Det museala perspektivet – inte bara ett hem, inte bara ett museum ........................................................................................... 56 Slutdiskussion .................................................................................... 59 4 Käll- och litteraturförteckning ........................................................ 65 Källförteckning .................................................................................................. 65 Litteratur............................................................................................................. 65 Bilaga 1 Intervjufrågor ..................................................................... 68 5 Tack Det första riktar sig till Datasalsklubben. För att ni stått ut med mig och med varandra. Pauserna har varit heliga och det allra bästa. Ett allra innerligaste tack bör också riktas mot kaffe. Tack kaffet, för att du fått mig att orka, få energi och idéer. Tack. Och tack choklad, vad vore jag utan dig? Tack till min sambo Johan och min älskade katt Stina som inte klagat när jag kommit hem efter långa dagar och inte velat göra så värst mycket mer än att sitta i fåtöljen och som peppat och tröstat med hejarop, kramar och spinnande kurr när det har behövts. Tack till min bror Robert och Johanna för att jag fick sova hos er i Malmö och för att ni underlättade min undersökning, och övriga familj som stöttat i den har processen. Tack också till Brandförsäkringsverkets stiftelse för bebyggel- sehistorisk forskning, vars stipendium underlättade resan till Ystad. Tack till museicheferna Sebastian Goksör i Ystad och Heli Haapasalo i Stock- holm. Utan ert generösa delgivande hade den här uppsatsen aldrig någonsin blivit så här bra. Tack! Det allra största tacket till min handledare Marie Steinrud. Utan dig hade den här aldrig skrivits, utan ditt stöd hade jag aldrig fått den färdig och inte heller vågat utveckla ett eget begrepp. Det började redan med din leverpastejmacka. Tack för att du tror på mig. Det sista tacket går till Charlotte Berlin och Wilhelmina von Hallwyl. 6 Inledning Sekelskiftet 1900 var museiskapandets tid. Under 1800- och det tidiga 1900-talet grundades många av våra museiinstitutioner som Nordiska museet (1907) och Nat- ionalmuseum (1866) i Stockholm och Kulturen
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