Den fænomenologiske metode i museologisk forskning

Abstract

The Phenomenological Method in Museological Research The phenomenological method is closely associated with the study of human consciousness. In museum studies the phenomenological approach is essential for gaining an understanding of why museum collections are established and how they may influence the museum audience. This article introduces the structure of human consciousness and the principles of the phenomenological method. The various stages of the phenomenological approach are put forward starting from an experiment carried out at the Art Museum in Esbjerg concerning how people are influenced by different kinds of introduction to art. Introspection and retrospection are first laid out as phenomenological strategies for observing what is going on within consciousness. Some of the major difficulties in studying the living stream of consciousness or an experience as it is later recalled in consciousness, are discussed. The following interview is defined as an explorative approach to a specific phenomenon. It is presented as a dialogue meant to inspire a person to describe the experience he or she has had and to make it possible for the researcher to grasp this experience through empathy. The aim of the final phenomenological description is to define the basic characteristics of the phenomenon in question. Epoché or phenomenological reduction is used in this context as a strategy for describing the phenomenon as it appears in consciousness, and the eidetic variation as a strategy for identifying the fundamental characteristics of the same phenomenon. Finally, the phenomenological description provides a basis for evaluating the influence of a specific phenomenon on human existence.

Beyond words: Exploring the embodied nature of reading fiction.

“…All the participants were recruited through an online notice, and their ages ranged from 21 to 52. With the methodological instructions about the phenomenological attitude and the epoché in mind, the interviews were semistructured, and open questions were asked and followed by questions relating to aspects of what the interviewees themselves had talked about (Englander, 2020; Funch, 2003; Kvale & Brinkmann, 2022). Questions such as “Can you describe for me in as much detail as possible an experience of reading fiction that made a great impression on you?” and “Can you elaborate on how you thought and felt in the situation if you try to think back?” were asked.…”

“…The questions followed the lived experiences of the interviewees in the context of the interaction to ensure as much exploration as possible (Englander, 2020;Kvale & Brinkmann, 2022). Concrete and situated descriptions were encouraged during the interviews, and the participants' in situ experiences were scrutinized through occasional requests to describe the surroundings where their experiences took place to allow them to relive them as much as possible (Funch, 2003). Subsequently, four interviews were chosen for analysis based on the richness and concreteness of the descriptions and analyzed following the descriptive phenomenological psychological method (Giorgi, 2009(Giorgi, , 2012.…”

Stilhed: En Eksistentiel Utopi

“…Det er min antagelse at en faenomenologisk beskrivelse af stilheden med udgangspunkt i de valgte beretninger -på trods af deres exceptionelle karakter -kaster lys over faenomenet stilhed på en måde der vil vaekke genklang og genkendelse hos laeseren, og i den udstraekning det lykkes, dokumenteres stilhedens almene karakter yderligere. Konsensus blandt dem der genkender et faenomen, er ifølge min opfattelse (Funch, 2003) faenomenologiens mest grundlaeggende generaliseringsprincip.…”