Global Journal of Human-Social Science, A: Arts and Humanities, Volume 21 Issue 12

structure of its gnoseological system and its specificity, as well as to motivate newcomers to the field to discover the theoretical and practical reasons why it is necessary to study museology. Stránský's wisdom in publishing his Introduction makes us reflect on why it is necessary for the different specialists working in museums - geologists, botanists, historians, art historians, etc., - to study and learn museology. His justification is that, although the disciplines applied in museums constitute an excellent gnoseological input for all those who work in museums, they do not include the museum aspect. The author ( Ibid .: 9) thinks that, although each discipline involved in museum work can decide, within its gnoseological context, on the identification of a given object, it cannot, on its own, decide on the ‘museality’ of what it considers only as a source of knowledge. However, if these sciences cannot provide answers to the problems of the museum phenomenon, museums must seek help from philosophy, sociology, psychology, and pedagogy. In this way, museology proposes, as an essential task, to promote the professionalisation of museum work. Stránský is convinced that this is the best strategy for specialized museologists to defend, with all the necessary guarantees, the future of contemporary museums. In his book Museology and Archaeology , Stránský (2005) offers an overview of museums and the functions they are called upon to perform from the moment of their creation to the legitimization of their heritage legacy by society. He analyses the museum phenomenon and the importance of the creating of collections. He examines the objective of museology, specifying what he understands by museography, pre- museology, museology, and neo-museology. He devotes a specific chapter, due to its length, to the system of museology. He explains the fundamentals of theoretical museology - selection, storage, presentation - and applied museology or museography - the institutionalisation of museums, settings, communication, preservation, exhibition, relationship with the public. He also distinguishes the diachronic dimension of historical museology and the synchronism of contemporary museology. When referring to historical museology, he studies its autonomy, genesis, and periodization. When he focuses on contemporary museology, he highlights the importance of musealization, the cultural policy of museums, and their future. Could not miss a chapter dedicated to analyzing the confrontation of museology with the post- modern world, its fields of knowledge, natural and cultural heritage, and the archaeology of monuments. About these, there is a need for close collaboration with other disciplines, which is why he pays special attention to archaeological and museological studies, and the importance to archaeological museums. He also devotes a chapter to metamuseology, where he analyses its philosophical-scientific context, its logical composition, its field of knowledge, its methodology, terminology, and position in the system of sciences. We can affirm that in this book, he summarises the main lines of his thinking set out in his many publications. Thus, anyone wishing to gain first-hand knowledge of Stránský's museological career must take these two works into account. III. T he C ontribution of S panish M useologists to I nternational M useological D iscourse Until well into the 1960s, the Spanish presence in the International Council of Museums was non- existent. It was not until the appointment, in 1974, of Luis Monreal Tejada as Secretary-General of ICOM that Spain began to gain prominence. At the 11 th General Conference and 12 th General Assembly in 1977, the museologists Xavier de Salas Bosch, María Luisa Herrera, and Consuelo Sanz Pastor were present on various committees (Bellido Blanco 2005: 333). The same happened with the presence of Spanish museologists in the debates on museological theory promoted by ICOFOM from 1978 onwards. It should be noted that from 1981, several Spanish academics began to participate in ICOFOM, including Rosario Carrillo, a painter, and lecturer in Technical Drawing at the Faculty of Physics in Madrid. They collaborated actively and was elected to the Executive Board in 1984 with 28 votes. In 1986, she stood for re- election for the 1987-1989 term and was re-elected, at the same time as Eulalia Morral i Romeu was elected for the first time for the same period. In 1980, no Spaniards took part in the first issue of Museological Working Papers, as was the case for the second. It was Domènec Miquel i Serra, member of the Advisory Commission of the Museums Service of Catalonia, and Eulàlia Morral i Romeu, Director of the Textile Museum of Terrassa, who, as members of the so-called " Grup Tècnic de Museologia ", recently created within the Associació de Treballadors de Museus de Catalunya , contributed for the first time to the debate on interdisciplinarity (Hernández and Lorente 2016: 37). Thereafter, other participants included Jaume Terradas, professor of Ecology at the Faculty of Sciences of the Autonomous University of Barcelona, Dolors Forrelad i Doménech, Director of the Museum of Art of Sabadell, Carmen G. Viejo Álvarez, museologist, María A. Mezquinz Irujo, Director of the Museum of Navarre, Eloisa García de Wattenberg, Director of the National Sculpture Museum of Valladolid, Teresa González i Vedaguer, of the Museu d'art de Catalunya, Palau Nacional and Parc de Montjuic, Joan Mayné Amat, of the Museum of Badalona, Andrea García © 2021 Global Journals Volume XXI Issue XII Version I 23 ( ) Global Journal of Human Social Science - Year 2021 A Zbyněk Zbyslav Stránský’s Museological Impact on Spain