DIALOGIC DISCOURSE IN MUSEUM PEDAGOGY OF UKRAINE AND SPAIN

Abstract

Fragmentation of scientific research and insufficient understanding of the background on which the modern museum pedagogy should be based slows down its development. In practice, a museum does not always become an intermediary between an exhibit and a visitor that can provide their cognitive and emotional contact. Forms of such contact are varied. The article presents several results of the analysis of work of Ukrainian and Spanish museum organizations from the point of view of innovative experience of socio-cultural activity. The article also studies the dialogic discourse as the basis of the modern museum pedagogy.Dialogic discourse is understood as the cognitive-communicative activity of communicants in a broad (situational, sociocultural, cognitive-psychological) context, fixed by a dialogical text. The museum exhibition itself (exposition) can be viewed as a dialogical text, because as a matter of form it is a human thought fixed on material carrier. In the dialogic discourse between a museum and visitors, we can note such properties as presence of text recipients, complexity of unfolding of discourse moves and their spontaneity, thematic unity of the dialogue, individuality of meanings for each addressee depending on his/her level of preparedness, etc. Thus, we can consider dialogic discourse as an essential part of socio-cultural interaction between a museum and visitors.Since the museum pedagogical activity is often aimed at the younger generation, the article explores examples of work of Ukrainian and Spanish museums with children and families. For example, it analyses the Prado museum’s educational and family programs, audio excursions, game and theatrical "paths", the Prado School program contents, as well as the museum website information. It also views the Rules for visitors of the Prado museum that contain valuable information for parents.In the course of exploration of the Ukrainian museum and pedagogical space, it has been established that each region uses its specific capabilities in order to develop a dialogue with visitors. For example, Odessa Bleshchunov Museum has created a special guidebook for families with children, Skovoroda city museum has an interactive game, Kherson Regional Museum has opened its Museum Center for Child Leisure and Kiev organizes a competition for young museum guides.Summarizing the analysis, we can conclude that the dialogical forms gradually penetrate the process of museum work. However, the discursive part – namely, the "answer" - the response of the museum audience still requires higher attention and scientific research.