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Museums, Modernity and Conflict examines the history of the
relationship between museums, collections and war, revealing how
museums have responded to and been shaped by war and conflicts of
various sorts. Written by a mixture of museum professionals and
academics and ranging across Europe, North America and the Middle
East, this book examines the many ways in which museums were
affected by major conflicts such as the World Wars, considers how
and why they attempted to contribute to the war effort, analyses
how wartime collecting shaped the nature of the objects held by a
variety of museums, and demonstrates how museums of war and of the
military came into existence during this period. Closely focused
around conflicts which had the most wide-ranging impact on museums,
this collection includes reflections on museums such as the Louvre,
the Stedelijk in the Netherlands, the Canadian War Museum and the
State Art Collections Dresden. Museums, Modernity and Conflict will
be of interest to academics and students worldwide, particularly
those engaged in the study of museums, war and history. Showing how
the past continues to shape contemporary museum work in a variety
of different and sometimes unexpected ways, the book will also be
of interest to museum practitioners.
This book recovers the significant contribution made by women to
museums, not just in obvious roles such as workers, but also as
donors, visitors, volunteers and patrons. It suggests that women
persistently acted to domesticate the museum, by importing domestic
objects and domestic regimes of value, as well as by making museums
more welcoming to children, and even by stressing the importance of
housekeeping at the museum. At the same time, women sought
'masculine' careers in science and curatorship, but found such
aspirations hard to achieve; their contribution tended to be kept
within clear, feminised areas. The book will be of interest to
those working on gender, culture, or museums in the period. It
sheds new light on women's material culture and material
strategies, education and professional careers, and leisure
practices. It will form an important historical context for those
working in contemporary museum studies This book is relevant to
United Nations Sustainable Development Goal 5, Gender equality. --
.
Museums, Modernity and Conflict examines the history of the
relationship between museums, collections and war, revealing how
museums have responded to and been shaped by war and conflicts of
various sorts. Written by a mixture of museum professionals and
academics and ranging across Europe, North America and the Middle
East, this book examines the many ways in which museums were
affected by major conflicts such as the World Wars, considers how
and why they attempted to contribute to the war effort, analyses
how wartime collecting shaped the nature of the objects held by a
variety of museums, and demonstrates how museums of war and of the
military came into existence during this period. Closely focused
around conflicts which had the most wide-ranging impact on museums,
this collection includes reflections on museums such as the Louvre,
the Stedelijk in the Netherlands, the Canadian War Museum and the
State Art Collections Dresden. Museums, Modernity and Conflict will
be of interest to academics and students worldwide, particularly
those engaged in the study of museums, war and history. Showing how
the past continues to shape contemporary museum work in a variety
of different and sometimes unexpected ways, the book will also be
of interest to museum practitioners.
This book recovers the significant contribution made by women to
museums, not just in obvious roles such as workers, but also as
donors, visitors, volunteers and patrons. It suggests that women
persistently acted to domesticate the museum, by importing domestic
objects and domestic regimes of value, as well as by making museums
more welcoming to children, and even by stressing the importance of
housekeeping at the museum. At the same time, women sought
'masculine' careers in science and curatorship, but found such
aspirations hard to achieve; their contribution tended to be kept
within clear, feminised areas. The book will be of interest to
those working on gender, culture, or museums in the period. It
sheds new light on women's material culture and material
strategies, education and professional careers, and leisure
practices. It will form an important historical context for those
working in contemporary museum studies This book is relevant to
United Nations Sustainable Development Goal 5, Gender equality. --
.
The nineteenth century witnessed a flowering of museums in towns
and cities across Britain. As well as providing a focus for
collections of artifacts and a place of educational recreation,
this work argues that municipal museums had a further, social role.
In a situation of rapid urban growth, allied to social and cultural
changes on a scale hitherto unknown, it was inevitable that
traditional class and social hierarchies would come under enormous
pressure. As a result, urban elites began to look to new methods of
controlling and defining the urban environment. One such
manifestation of this was the growth of the public museum. In
earlier centuries museums were the preserve of learned and
respectable minority, yet by the end of the nineteenth century one
of the principal rationales of museums was the education, or
'improvement', of the working classes. In the control of museums
too there was a corresponding shift away from private aristocratic
leadership, toward a middle-class civic directorship and a growing
professional body of curators. This work is in part a study of the
creation of professional authority and autonomy by museum curators.
More importantly though, it is about the stablization of
middle-class identities by the end of the nineteenth century around
new hierarchies of cultural capital. Public museums were an
important factor in constructing the identity and authority of
certain groups with access to, and control over, them. By examining
urban identities through the cultural lens of the municipal museum,
we are able to reconsider and better understand the subtleties of
nineteenth-century urban society.
Interrogating the multiple ways in which travel was narrated and
mediated, by and in response to, nineteenth-century British
travelers, this interdisciplinary collection examines to what
extent these accounts drew on and developed existing tropes of
travel. The three sections take up personal and intimate narratives
that were not necessarily designed for public consumption, tales
intended for a popular audience, and accounts that were more
clearly linked with discourses and institutions of power, such as
imperial processes of conquest and governance. Some narratives
focus on the things the travelers carried, such as souvenirs from
the battlefields of Britain's imperial wars, while others show the
complexity of Victorian dreams of the exotic. Still others offer a
disapproving glimpse of Victorian mores through the eyes of
indigenous peoples in contrast to the imperialist vision of British
explorers. Swiss hotel registers, guest books, and guidebooks offer
insights into the history of tourism, while new photographic
technologies, the development of the telegraph system, and train
travel transformed the visual, audial, and even the conjugal
experience of travel. The contributors attend to issues of gender
and ethnicity in essays on women travelers, South African travel
narratives, and accounts of China during the Opium Wars, and
analyze the influence of fictional travel narratives. Taken
together, these essays show how these multiple narratives
circulated, cross-fertilised, and reacted to one another to produce
new narratives, new objects, and new modes of travel.
The nineteenth century witnessed a flowering of museums in towns
and cities across Britain. As well as providing a focus for
collections of artifacts and a place of educational recreation,
this work argues that municipal museums had a further, social role.
In a situation of rapid urban growth, allied to social and cultural
changes on a scale hitherto unknown, it was inevitable that
traditional class and social hierarchies would come under enormous
pressure. As a result, urban elites began to look to new methods of
controlling and defining the urban environment. One such
manifestation of this was the growth of the public museum. In
earlier centuries museums were the preserve of learned and
respectable minority, yet by the end of the nineteenth century one
of the principal rationales of museums was the education, or
'improvement', of the working classes. In the control of museums
too there was a corresponding shift away from private aristocratic
leadership, toward a middle-class civic directorship and a growing
professional body of curators. This work is in part a study of the
creation of professional authority and autonomy by museum curators.
More importantly though, it is about the stablization of
middle-class identities by the end of the nineteenth century around
new hierarchies of cultural capital. Public museums were an
important factor in constructing the identity and authority of
certain groups with access to, and control over, them. By examining
urban identities through the cultural lens of the municipal museum,
we are able to reconsider and better understand the subtleties of
nineteenth-century urban society.
Essays exploring the relationship between museums and biographies,
with worldwide examples and from the early nineteenth century to
the present day. Museums and biographies both tell the stories of
lives. This innovative collection examines for the first time
biography - of individuals, objects and institutions - in
relationship to the museum, casting new light on the many facets of
museum history and theory, from the lives of prominent curators, to
the context of museums of biography and autobiography. Separate
sections cover individual biography and museum history,
problematising individual biographies, institutional biographies,
object biographies, and museums as biographies/autobiographies.
These articles offer new ways of thinking about museums and museum
history, exploring how biography in and of the museum
enrichesmuseum stories by stressing the inter-related nature of
lives of people, objects and institutions as part of a dense web of
relationships. Through their widely ranging research, the
contributors demonstrate the value of thinkingabout the stories
told in and by museums, and the relationships which make up
museums; and suggest new ways of undertaking and understanding
museum biographies. Dr Kate Hill is Principal Lecturer in History
at the University of Lincoln. Contributors: Jeffrey Abt, Felicity
Bodenstein, Alison Booth, Stuart Burch, Lucie Carreau, Elizabeth
Crooke, Steffi de Jong, Mark Elliott, Sophie Forgan, Mariana
Francozo, Laura Gray, Kate Hill, Suzanne MacLeod, Wallis Miller,
Belinda Nemec, Donald Preziosi, Helen Rees Leahy, Linda Sandino,
Julie Sheldon, Alexandra Stara, Louise Tythacott, Chris Whitehead,
Anne Whitelaw
Essays exploring the relationship between museums and biographies,
with worldwide examples and from the early nineteenth century to
the present day. Museums and biographies both tell the stories of
lives. This innovative collection examines for the first time
biography - of individuals, objects and institutions - in
relationship to the museum, casting new light on the many facets of
museum history and theory, from the lives of prominent curators, to
the context of museums of biography and autobiography. Separate
sections cover individual biography and museum history,
problematising individual biographies, institutional biographies,
object biographies, and museums as biographies/autobiographies.
These articles offer new ways of thinking about museums and museum
history, exploring how biography in and of the museum
enrichesmuseum stories by stressing the inter-related nature of
lives of people, objects and institutions as part of a dense web of
relationships. Through their widely ranging research, the
contributors demonstrate the value of thinkingabout the stories
told in and by museums, and the relationships which make up
museums; and suggest new ways of undertaking and understanding
museum biographies. Dr Kate Hill is Principal Lecturer in History
at the University of Lincoln. Contributors: Jeffrey Abt, Felicity
Bodenstein, Alison Booth, Stuart Burch, Lucie Carreau, Elizabeth
Crooke, Steffi de Jong, Mark Elliott, Sophie Forgan, Mariana
Francozo, Laura Gray, Kate Hill, Suzanne MacLeod, Wallis Miller,
Belinda Nemec, Donald Preziosi, Helen Rees Leahy, Linda Sandino,
Julie Sheldon, Alexandra Stara, Louise Tythacott, Chris Whitehead,
Anne Whitelaw
Interrogating the multiple ways in which travel was narrated and
mediated, by and in response to, nineteenth-century British
travelers, this interdisciplinary collection examines to what
extent these accounts drew on and developed existing tropes of
travel. The three sections take up personal and intimate narratives
that were not necessarily designed for public consumption, tales
intended for a popular audience, and accounts that were more
clearly linked with discourses and institutions of power, such as
imperial processes of conquest and governance. Some narratives
focus on the things the travelers carried, such as souvenirs from
the battlefields of Britain's imperial wars, while others show the
complexity of Victorian dreams of the exotic. Still others offer a
disapproving glimpse of Victorian mores through the eyes of
indigenous peoples in contrast to the imperialist vision of British
explorers. Swiss hotel registers, guest books, and guidebooks offer
insights into the history of tourism, while new photographic
technologies, the development of the telegraph system, and train
travel transformed the visual, audial, and even the conjugal
experience of travel. The contributors attend to issues of gender
and ethnicity in essays on women travelers, South African travel
narratives, and accounts of China during the Opium Wars, and
analyze the influence of fictional travel narratives. Taken
together, these essays show how these multiple narratives
circulated, cross-fertilised, and reacted to one another to produce
new narratives, new objects, and new modes of travel.
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Gascon Victors
Kate Hill
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R347
Discovery Miles 3 470
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Ships in 10 - 15 working days
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"This debut collection is a constant surprise. There are tender,
lyrical stories about longing and dogs and sick mothers and
disoriented geese, and short pieces with jagged edges and daring
rhythms about leaves and leaving, about fathers who swim laps in
the ocean, and, everywhere, all day, children who notice." - Pia Z.
Ehrhardt author of Famous Father's and Other Stories
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