Passage A
The repatriation of cultural artifacts is not merely a legal transaction; it is a vital act of historical restoration. For centuries, Western museums have functioned as repositories of imperial spoils, holding under lock and key treasures that were systematically looted or coerced from their original creators. To argue that these institutions possess a superior capacity for preservation is to perpetuate a paternalistic colonial narrative. The cultural value of an artifact does not reside in its sterile isolation behind glass in London or Paris; rather, it exists in its living relationship to the community that birthed it. When a ceremonial mask or a sacred sculpture is separated from its indigenous landscape, it is effectively silenced. Returning these objects to their rightful descendants restores their spiritual and social agency, allowing them to participate once more in the active, ongoing history of their communities. True stewardship lies not in hoarding the world's treasures under the guise of universal preservation, but in honoring the sovereignty of local heritage.
Passage B
The rise of the modern 'universal museum' represents one of the greatest achievements of the Enlightenment, offering a space where the shared narrative of human civilization can be viewed in its entirety. By housing artifacts from diverse epochs and regions under a single roof, encyclopedic museums facilitate cross-cultural dialogues that are impossible when collections are fragmented. Proponents of absolute repatriation often overlook the practical and intellectual benefits of global stewardship. In an increasingly polarized world, these centralized institutions serve as crucial safeguards against the destruction of heritage by localized conflict, economic instability, or ideological shifts. Furthermore, an artifact displayed in a global metropolis is accessible to an international audience, fostering a cosmopolitan empathy that transcends national borders. Stripping these museums of their collections in the name of national ownership risks balkanizing human history, replacing a grand, interconnected narrative of global artistic evolution with isolated pockets of cultural parochialism.
Which of the following statements best describes how the author of Passage A and the author of Passage B differ in their perspectives regarding the role of universal museums?
- ABoth authors agree that global museums strip artifacts of their original meaning, though the author of Passage A condemns this loss of meaning while the author of Passage B defends it as necessary for public safety.
- BThe author of Passage A focuses on the physical deterioration of artifacts kept in Western vaults, whereas the author of Passage B emphasizes the financial superiority of large metropolitan institutions over local heritage sites.
- The author of Passage A adopts an urgent, morally critical stance that characterizes global museums as perpetuators of colonial dominance, whereas the author of Passage B employs a defensive, intellectual tone that frames these institutions as essential custodians of shared human history.Answer
- DThe author of Passage A seeks to dismantle Western museums entirely due to their imperial origins, while the author of Passage B argues that local communities lack the scientific expertise required to care for delicate historical objects.