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The Language of Museum Communication pp 23–62Cite as

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Theoretical Background

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Notes

  1. 1.

    The San Francisco Chronicle’s art critic, Kenneth Baker, declared in an interview: “I seldom read photo criticism, apart from the occasional exhibition catalogue essay (for information) and a few classics: Sontag, Barthes, etc. [….]. Most academic writing I read, or try to read, strikes me as over-theorised”. Similarly, the Italian critic Michele Smargiassi, who works for the newspaper La Repubblica, replied that “sometimes the language of art criticism seems to compete with art or poetry, as if it were an object to be critically explained itself. The obscurity of certain texts may also be a ploy for hiding lacking of contents” (“L’imperialismo della critica”, Il Giornale dell’arte –The Art Newspaper. May 2012, 3).

  2. 2.

    http://www.theguardian.com/artanddesign/2013/jan/27/users-guide-international-art-english.

  3. 3.

    http://www.huffingtonpost.com/artinfo/international-art-english-the-joke-that-forgot-it-was-funny_b_3397760.html.

  4. 4.

    See, for instance, http://www.artybollocks.com/and http://500letters.org/.

  5. 5.

    http://www.artnews.com/2013/12/09/how-museums-title-shows/.

  6. 6.

    The acronym BNC is used to refer to the British National Corpus. LOB stands for the Lancaster-Oslo/Bergen corpus, from the name of the universities where the corpus was compiled, while FLOB is the abbreviation for Freiberg LOB corpus, which was created at Freiberg University.

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  1. Università degli Studi di Modena e Reggio Emilia, Modena, Italy

    Cecilia Lazzeretti

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Lazzeretti, C. (2016). Theoretical Background. In: The Language of Museum Communication. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-57149-6_2

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  • DOI: https://doi.org/10.1057/978-1-137-57149-6_2

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