Historia w muzeach: studium ekspozycji Holokaustu
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Lublin
Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
2011
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: History in museums |
| Beschreibung: | 292 p. ill., photos 24 cm |
| ISBN: | 9788377840436 |
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| adam_text |
Anna Ziębińska-Witek
HISTORIA
W MUZEACH
Studium ekspozycji Holokaustu
WYDAWNICTWO UNIWERSYTETU MARII CURIE-SKŁODOWSKIEJ
LUBLIN 2011
Spis treści
Wstęp
Część I
Muzea - zarys zagadnień teoretycznych
Rozdział I
Muzeum publiczne: od instrumentu edukacji do przestrzeni doświadczeń 15
1 1 Ćwiczenie obywatelskości 16
1 2 Związki z kulturą masową 22
1 3 „Nowa muzeologia 25
1 4 Muzeum modernistyczne a muzeum postmodernistyczne 32
1 5 Przestrzeń doświadczeń 42
Rozdział II
Ekspozycja historyczna: między narracją a spektaklem 53
2 1 Definicje 53
2 2 Perspektywa formalistyczna i analityczna 56
2 3 Ekspozycje historyczne 63
231 Narracje 67
232 Rekonstrukcje i spektakle 75
Rozdział III
Obiekt muzealny: w stronę dematerializacji 81
3 1 Konceptualizacje obiektu muzealnego 81
3 2 Klasyfikacje obiektów Kolekcje 92
3 3 Problem autentyczności Dematerializacja obiektu 97
Rozdział IV
Problemy z interpretacją ekspozycji muzealnych 107
6 Spis treści
Część II
Ekspozycje Holokaustu
Rozdział V
Miejsca pamięci czy miejsca historii? 135
5 1 Kłopoty z tożsamością 135
5 2 Pamięć i historia 140
5 3 Dziedzictwo a rebours 144
5 5 „Gatunek zmącony 152
Rozdział VI
Ekspozycje Holokaustu: koncepcje i realizacje 159
6 1 Śmierć rzeczywista - byłe nazistowskie obozy koncentracyjne 161
6 2 Śmierć wyobrażona ' 175
621 Muzeum Holokaustu w Waszyngtonie 175
622 Fabryka Oskara Schindlera w Krakowie 193
6 3 Śmierć symboliczna 200
631 Muzeum-Miejsce Pamięci w Bełżcu 200
632 Elementarz w Państwowym Muzeum na Majdanku 204
Rozdział VII
Obiekty z Zagłady w ekspozycjach muzealnych 215
7 1 Obiekty materialne 216
711 Fotografie 216
712 Pasiaki 226
713 Wagony 232
Muzeum Holokaustu w Waszyngtonie 235
Pomnik Deportowanych (Memoriał to the Deportees) w Yad Vashem 237
714 Miejsca 239
7 2 Obiekty niematerialne 248
721 Historia mówiona 248
722 Instalacje artystyczne 254
Zakończenie 261
Bibliografia 267
Summary 283
Indeks nazwisk 287
Summary
History
¡η
Museums. A Study on Holocaust Exhibitions
The contemporary expansion of visual culture has led to an unprecedented flourishing of
museums. They have become symbols of cultural
revitalisation as
well as of the so-called "soft"
economy and new urbanization, serving as institutional hallmarks of cities and regions, im¬
proving their image, and attracting tourists. This situation inevitably affects exhibition strate¬
gies and the form of museum expositions, which unmistakably reflect the new tendencies
pushing contemporary museums towards "soft" values, such as consumption, entertainment,
distraction, and spectacle.
As a peculiar reservoir of modes of representing the past museums constitute a key ele¬
ment in the processes of the rationalization and institutionalization of history, and financially
assist the development of professions providing services based on trust. It is museums that le¬
gitimize and interpret the past for the viewing public, while their wide influence and social au¬
thority make them co-responsible for the shape of collective memory. At the same time, as
a consequence of the public nature of exhibitions, they reflect contemporary tensions between
wide accessibility and elitism, popular knowledge and expert knowledge, conferring meanings
and questioning them, the market value of an exhibition and its "mission". However, in spite of
all that, a great deal of research on museums continues to be based on unquestioned notions,
such as the belief that viewing exhibits inevitably leads to the acquisition of knowledge, that
museum space is neutral, or that at least some artefacts "speak for themselves". It is worth
re-examining these assumptions in the light of modern theories and trying to develop new
tools for the analysis of exhibitions
-
tools appropriate to the changes currently taking place in
museums.
The loss of traditional cultural authority does not have to be perceived as the abandon¬
ment of professionalism and respect for the authenticity of exhibits. On the contrary, in keep¬
ing with the conditions of participative democracy, it may offer the public new opportunities:
for spontaneous involvement, having a voice in the debate, co-creating exhibitions, and taking
initiatives. The case of historical museums is a particularly useful example. For many curators,
historical accuracy and the preservation of historical details for posterity are still of paramount
importance. They place special emphasis on the "suitability" of the relation between the object,
context, and exhibition
-
suitability guaranteed by the respect for historical truth confirmed by
academic research. This, however, is not tantamount to the rejection of modern methods of
representation or innovative exhibition concepts. As Andrea Witcomb points out, museums are
not only about people but also for people,2 which means that as public institutions they have to
attract visitors, as well as recognize and meet their expectations. If museums are to be an envi¬
ronment that actively shapes our perception of historical events, they must respond to the de-
1
It is in such terms that these changes are interpreted by Alan Charles Watkins, see his, "Are
Museums Still Necessary?" Curator: The Museum Journal,
37,1 (1994): 30.
2
Andrea Witcomb, Re-Imagining the Museum: Beyond the Mausoleum (London and New York:
Routledge,
2003), 71.
284
Summary
mands of the present. This is why museums offer new forms of encountering the past, which
constitutes an additional value beyond the potential commercial and entertainment functions
of exhibitions. Thus, rather than exclude museums from the domain of history and relegate
them to the realm of consumption and entertainment
-
where some researchers would prefer
to see them
-
we should perhaps view them as unconventional forms of history. According to
a definition provided by
Ewa Domańska,
conventional (academic) history takes the form of
a text written in a realistic style and adheres to methodological principles such as the cult of the
fact, the requirement of objectivity, and the search for truth. By contrast, unconventional his¬
tory (opposed to the conventional one) "favours subjectivity, rejects causality and distrusts the
criterion of truth in narration, experiments with methods of representation, and uses diverse
media, among which the written text is only one of available options. Unconventional history
embraces emotion, empathy, and frankness".3 According to this perspective, the new historical
museum should be a dynamic, critical and open institution, whose task is not only to represent
the past but also to point out that a given representation results from a contemporary, negoti¬
ated interpretation of historical events. Certainly, the museum is, as it has always been, an "or¬
ganized" space. Modern historical exhibitions, however, can resist the objectified, top-down
narrative by offering multiple perspectives and a subjective point of view. Thus they support
decentralization and detraditionalization of official (conventional) history, while the ambiguity
of exhibitions can inspire and stimulate people, as well as mobilize them to react to controver¬
sial phenomena
-
which contradicts the claim that museums promote the passive process of
the "consumption" of historical heritage by the entertainment-hungry public.
Although they are a special case, museums of the Holocaust seem to illustrate well this
potential of exhibitions. Aesthetic, ethical and political qualities of such exhibitions should at¬
tract more attention from researchers. Museums of the Holocaust are not meant to provide en¬
tertainment, but they appeal to powerful emotions, since their objective is to offer a moving ex¬
perience that confronts visitors with difficult questions or even takes them to the limits that
defy comprehension. These exhibitions do not deal with affirmative history but with events
that no one would like to identify with. Paradoxically, the difficulties and doubts related to the
impossible but necessary task of representing the
Shoah
cause museums of the Holocaust to
embrace new forms of portraying the past and resort to the latest exhibition strategies capable
of emotionally involving the public. Their example shows that participation in a spectacle or
a sense of immersion in one does not have to be a superficial experience. The present study
shows how such exhibitions create new forms of narration, combine multiple discourses,
search for new modes of communication (including artistic expression), and confront viewers
with difficult knowledge.
This book provides a partial recapitulation of the debate on museums that has been con¬
ducted in the humanities within the interpretative-constructivist paradigm, characterized by
the interest in the textualization of the past, narration, and history viewed as a discourse. At the
same time, the book also points to the limitations of this paradigm (especially by analysing spe¬
cific cases) and outlines new aspects of studying the past, such as a turn toward objects and ma¬
teriality, interest in the presence of the past rather than in its representation, and studies on
"dead bodies," which focus on ethical questions involved in using such objects in museum
discourses.
The book consists of two parts. The first part presents a theoretical discussion of contem¬
porary reflection on museums as a type of cultural phenomena. I concentrate on the contempo¬
rary museum, but where necessary, I also refer to the beginnings of the public museum. I am
interested in all three areas of modern museum studies: i. e.,
(1)
the functions, objectives, and
identity of the museum as a public institution (chapter one: "The public museum: From an edu-
3
Ewa Domańska, Historie
nieVenuoencjonalne.
Refleksja o przeszłości w nowej humanistyce (Poznań:
Wydawnictwo Poznańskie,
2006), 54-55.
Summary
285
cational tool to a site of experiences");
(2)
the exhibition as a way of representing the past (chap¬
ter two: "Historical exhibitions: Between a narrative and a spectacle");
(3)
the object and its
significance within museum discourse (chapter three: "Museum objects: Toward dema-
terialization"). My objective in this part of the study is to explain the significance of theories de¬
veloped by the humanities and social sciences for contemporary museological thought. These
theories include the ideas of Michel
Foucault
(and those of his followers who focus on
power-knowledge relations in the context of contemporary museums), semiotics and
structuralism, constructivism, post-structuralism and deconstruction, the "textual" approach
and the performance approach. The above theories fundamentally influence the ways of per¬
ceiving the institution of the museum and
-
as I try to show
-
have often contributed to
significant changes in our thinking about exhibitions as neutral and transparent representa¬
tions of knowledge.
In chapter four ("Problems of interpreting museum exhibitions"), I deal with a separate
problem related to my research methodology. The book is a collective case study, and the ana¬
lysis of the cases allows for certain general conclusions. Each of the cases is interesting in itself,
but they have been selected mainly for their potential to explain the broader phenomenon of
the representation of history in museums. Interpretations of specific exhibitions are also an at¬
tempt to improve exhibition analysis methods, which-located as they are at the intersection of
many disciplines-pose new methodological challenges to the researcher.
The second part of the book illustrates the preceding theoretical discussion. My choice to
analyze exhibition strategies in museums of the Holocaust was motivated by my long-standing
involvement in the subject of representing the
Shoah
and by the belief that these strategies ide¬
ally illustrate the range of problems associated with the simultaneous necessity and impossibil¬
ity of fully representing a historical event. Moreover, I wished to analyze exhibitions devoted to
a unique phenomenon
-
unique at least according to their curators. Without engaging in the
debate about the unique and unprecedented nature of the Holocaust, I thought it worthwhile
to examine how the belief in its uniqueness finds concrete expression in museum discourse.
The order of chapters corresponds to the arrangement of topics in the first part of the
book. I begin, therefore, by examining museum-memorial sites, their special characteristics and
identity problems (chapter five: "Memorial sites or historical sites?"), and proceed to discuss
specific exhibitions (chapter six: "Holocaust Exhibitions: Concepts and practice"). In this chap¬
ter I analyse the exhibition at the United States Holocaust Memorial Museum, ways of com¬
memoration in Yad Vashem, and displays in the former concentration and death camps at
Majdanek,
Auschwitz,
Bełżec
and
Treblinka.
I refer also to other examples, like the Jewish Mu¬
seum in Berlin or Oscar
Schindlers
Factory in
Kraków.
Out of the two primary aspects of repre¬
sentations, namely their poetics and politics, I am interested mainly in the former, i.e. the iden¬
tification of the aesthetic and narrative foundations of an exhibition. This is not to deny that the
politics of representations refers to social circumstances under which a given exhibition is held,
presented, and interpreted, and as such it is obviously an immensely important aspect of its
functioning. Each museum is an element of a historical policy, developed to shape the collec¬
tive memory and historical consciousness of a given society. In the case of museums of the Ho¬
locaust this subject has been fairly well explored. Still, it is sometimes difficult to separate the
politics from the poetics of an exhibition (politics affects poetics), so I do not completely omit
this dimension of museum discourses, and I repeatedly refer to the literature on the topic. Nev¬
ertheless, the focus of the study is definitely on internal exhibition strategies, rather than on
factors that led to the creation of specific museums or expositions. Using a multidimensional
analysis, I have been able to distinguish specific exhibition concepts, described in the book as
real death, represented death, and symbolic death. These concepts are based on different as¬
sumptions and apply different strategies for representing the same historical event, namely the
Shoah.
My research suggests that aesthetic categories traditionally employed in representa¬
tions of the Holocaust in museums (horror, beauty, pathos) are inadequate and come short of
286
Summary
expectations. It is therefore necessary to develop new categories that would be better suited to
the imagination of the contemporary audience.
The last chapter ("Objects from the
Shoah
in museum exhibitions") is devoted to objects
and their significance in specific museum discourses. I single out objects that are most charac¬
teristic for Holocaust exhibitions (photographs, prisoners' uniforms, freight cars among others)
and I make the assumption that the interpretation and recognition of meanings conveyed by
them depend on the context and vary in relation to other objects or collections. I analyse also
immaterial objects, like artistic installations and survivors' and witnesses' testimonies, since
their presence in many Holocaust displays calls for attention. The importance of an object does
not derive from the curator's opinions, its place in the museum collection, or its supposedly "in¬
trinsic" meaning. Its significance emerges from the processes taking place between the object
and the viewer.
Historical exhibitions can represent past events in attractive and effective ways by using
a variety of exhibition concepts and by their innovative implementation, by making efforts to
transcend the historian's perspective, by drawing on the latest trends in studies on representa¬
tions, and by becoming more responsive to the public. This is not to say that written historiog¬
raphy has become less important, but to point out that museum exhibitions should be accorded
equal status and analyzed with professional tools developed specifically for this purpose. At
present, in Poland, we observe the phenomenon of popularization and commercialization of
history, which manifests itself in historical knowledge being offered as a finished product, but
the processes of studying, interpreting and representing the past are increasingly removed
from the everyday experience of the general public. Institutions frequently encourage the pub¬
lic to trust professionals or even leave it no other choice. I hope that my book demonstrates
how museums choose their priorities, methods, and strategies in response to the demands of
the present, what experiences they provide, and what knowledge they "produce." A deeper
understanding of museums as a medium will enable their potential visitors to participate more
consciously in the processes of taming and representing the past in exhibitions.
Translated from the Polish by
Grzegorz Dąbkowski |
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| publisher | Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej |
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| spelling | Ziębińska-Witek, Anna 1971- Verfasser (DE-588)1191205940 aut Historia w muzeach studium ekspozycji Holokaustu Anna Ziębińska-Witek Lublin Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej 2011 292 p. ill., photos 24 cm txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: History in museums Holokaust / History Geschichte Judenvernichtung (DE-588)4073091-8 gnd rswk-swf Musealisierung (DE-588)4281014-0 gnd rswk-swf Judenvernichtung (DE-588)4073091-8 s Musealisierung (DE-588)4281014-0 s DE-604 HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024540704&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024540704&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Ziębińska-Witek, Anna 1971- Historia w muzeach studium ekspozycji Holokaustu Holokaust / History Geschichte Judenvernichtung (DE-588)4073091-8 gnd Musealisierung (DE-588)4281014-0 gnd |
| subject_GND | (DE-588)4073091-8 (DE-588)4281014-0 |
| title | Historia w muzeach studium ekspozycji Holokaustu |
| title_auth | Historia w muzeach studium ekspozycji Holokaustu |
| title_exact_search | Historia w muzeach studium ekspozycji Holokaustu |
| title_full | Historia w muzeach studium ekspozycji Holokaustu Anna Ziębińska-Witek |
| title_fullStr | Historia w muzeach studium ekspozycji Holokaustu Anna Ziębińska-Witek |
| title_full_unstemmed | Historia w muzeach studium ekspozycji Holokaustu Anna Ziębińska-Witek |
| title_short | Historia w muzeach |
| title_sort | historia w muzeach studium ekspozycji holokaustu |
| title_sub | studium ekspozycji Holokaustu |
| topic | Holokaust / History Geschichte Judenvernichtung (DE-588)4073091-8 gnd Musealisierung (DE-588)4281014-0 gnd |
| topic_facet | Holokaust / History Geschichte Judenvernichtung Musealisierung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024540704&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024540704&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT ziebinskawitekanna historiawmuzeachstudiumekspozycjiholokaustu |