Relevant bibliographies by topics / National Holocaust Centre and Museum

Academic literature on the topic 'National Holocaust Centre and Museum'

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Published: 10 December 2022
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Journal articles on the topic "National Holocaust Centre and Museum"

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Radonic, Ljiljana. "“People of Freedom and Unlimited Movement”: Representations of Roma in Post-Communist Memorial Museums." Social Inclusion 3, no. 5 (September 29, 2015): 64–77. http://dx.doi.org/10.17645/si.v3i5.229.

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The “universalization of the Holocaust” and the insistence on Roma rights as an EU accession criteria have changed the memory of the Roma genocide in post-communist countries. This article examines how Roma are represented in post-communist memorial museums which wanted to prove that they correspond with “European memory standards”. The three case studies discussed here are the <em>Museum of the Slovak National Uprising</em>, the <em>Jasenovac Memorial Museum</em> and the <em>Holocaust Memorial Center</em> in Budapest. I argue that today Roma are being represented for the first time, but in a stereotypical way and through less prominent means in exhibitions which lack individualizing elements like testimonies, photographs from their life before the persecution or artifacts. This can only partially be explained by the (relative) unavailability of data that is often deplored by researchers of the Roma genocide.
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Surovtsev, Oleg. "Bukovynian Jews during the Holocaust: The problem of preserving historical memory." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 1, no. 49 (June 30, 2019): 93–100. http://dx.doi.org/10.31861/hj2019.49.93-100.

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In the article, based on archival materials, published memoirs, a retrospective analysis of events and contemporary reflections of the Holocaust on the territory of Bukovina during the Second World War is carried out. During the Soviet, German-Romanian occupation of the region, the Bukovinian Jewish community suffered severe suffering and trials, huge human and material losses, which greatly undermined the social, economic and cultural positions of the Jewish population in Bukovina. In fact, the socio-cultural face of Chernivtsi and the region changed, entire generations of Bukovinian Jews were erased from historical memory, forever disappeared into the darkness of history. From the late 80’s – early 90’s XX century. in the conditions of the collapse of the USSR and the emergence of an independent Ukraine, it became possible to study the events of the Holocaust in the Chernivtsi region, to study the fate of Bukovynian Jews during the Second World War. Despite the mass emigration, in 1990-1995 the Jewish community of Chernivtsi published five collections of memories of Holocaust survivors of the Holocaust in Bukovina, erected a memorial sign at the scene of the shootings in the summer of 1941 and a memorial plaque on the Chernivtsi ghetto (in 2016 the efforts of the Jewish community of Chernivtsi to create a full memorial in the territory of the former ghetto). Since 2010, the Museum of Jewish History and Culture of Bukovina has been established in Chernivtsi, and at the Chernivtsi National University there is a Center of Jewish studies, which is actively engaged in the study and promotion of Bukovina Jewish history, including the topic of the Holocaust. Since 2017, work has begun on the creation of the Holocaust Museum in Chernivtsi in the building of the former memorial synagogue «Beit Kadish» on the territory of a Jewish cemetery, which aims to commemorate the memory of Bukovinian Jews who died during the Second World War. Over the past 30 years, more than 65 monuments (memorials, plaques) have appeared in the Chernivtsi region to commemorate those killed in the Holocaust. However, around the Holocaust events in Bukovina, a memory conflict has arisen – it is about different interpretations of events (Ukrainian, Romanian, Jewish, post-Soviet narratives) and commemorative practices related to it. An example of the post-Soviet memory of the Holocaust is the recently opened memorial in one of the districts of Chernivtsi (Sadgora), on the so-called “Kozak Hill”, in memory of the executed Jews in the summer of 1941. The Soviet term “Great Patriotic War” is used in the inscription on the monument. Keywords: Holocaust, Transnistria, ghetto, «autorization», deportation, primar
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Cesarani, David. "Should Britain Have a National Holocaust Museum?" Journal of Holocaust Education 7, no. 3 (December 1998): 17–27. http://dx.doi.org/10.1080/17504902.1998.11087078.

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Radonic, Ljiljana. "Slovak and Croatian invocation of Europe: the Museum of the Slovak National Uprising and the Jasenovac Memorial Museum." Nationalities Papers 42, no. 3 (May 2014): 489–507. http://dx.doi.org/10.1080/00905992.2013.867935.

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Even though self-critical dealing with the past has not been an official criterion for joining the EU, the founding of the Task Force for International Cooperation on Holocaust Education, Remembrance, and Research and the Holocaust conference in Stockholm at the beginning of 2000 seem to have generated informal standards of confronting and exhibiting the Holocaust in the context of “Europeanization of Memory.” Comparative analysis shows that post-Communist museums dealing with the World War II period perform in the context of those informal standards. Both the Jasenovac Memorial Museum in Croatia and the Museum of the Slovak National Uprising in Banská Bystrica were founded in the Communist era and played an important role in supporting the founding myths of the two countries. Both were subjected to historical revisionism during the 1990s. In the current exhibitions from 2004/2006, both memorial museums stress being part of Europe and refer, to “international standards” of musealization, while the Jasenovac memorial claims to focus on “the individual victim.” But stressing the European dimension of resistance and the Holocaust obscures such key aspects as the civil war and the responsibility of the respective collaborating regime.
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Morrow, Paul. "Are Holocaust Museums Unique?" Royal Institute of Philosophy Supplement 79 (October 2016): 133–57. http://dx.doi.org/10.1017/s1358246116000114.

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AbstractHolocaust museums record and memorialize deeply affecting historical events. They can nevertheless be described and criticized using standard categories of museum analysis. This paper departs from previous studies of Holocaust museums by focusing not on ethical or aesthetic issues, but rather on ontological, epistemic, and taxonomic considerations. I begin by analysing the ontological basis of the educational value of various objects commonly displayed in Holocaust museums. I argue that this educational value is not intrinsic to the objects themselves, but rather stems from the extrinsic relations established between objects in museum exhibitions and displays. Next, I consider the epistemic, or knowledge-creating, function of Holocaust museums. I argue that the structure of public displays in such museums reflects the particular, document-based epistemology that continues to characterize Holocaust historiography and other fields of Holocaust research. Finally, I turn to examine taxonomic features of Holocaust museums. As I explain, both professional and ‘artefactual’ networks link the activities and display strategies of national, regional, and local Holocaust museums. A brief conclusion sketches some implications of my analysis for ongoing debates about the ethical function of Holocaust museums.
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Flinn, Andrew. "National museum of labour history archive and study centre." Contemporary Record 7, no. 2 (September 1993): 465–72. http://dx.doi.org/10.1080/13619469308581259.

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Junek, Marek. "Collections of the National Museum Related to Cultural Opposition." Muzeum Muzejní a vlastivedná práce 56, no. 3 (2018): 35–41. http://dx.doi.org/10.2478/mmvp-2018-0005.

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Collections devoted to culture form an important part of the National Museum collections. Especially those of the Czechoslovak Documentation Centre which were given to the National Museum by Vilém Prečan in 2003 are devoted to the Cultural and Political Opposition. These collections include a wide range of personal collections (Václav Havel, Milan Šimečka, Jiřina Šiklová, Ivan Medek and others). Institutional collections, such as Radio Free Europe, the Charter 77 Foundation or the Czechoslovak Documentation Centre own collections, are also important. The collections show how important cooperation between the dissent and exile culture was, especially during the period of so-called normalization and illustrate their interconnection at the same time.
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Czop, Janusz, Barbara Łydżba-Kopczyńska, and Barbara Świątkowska. "NATIONAL CENTRE FOR RESEARCH ON HERITAGE – A NEW INITIATIVE ON THE MAP OF POLISH MUSEOLOGY." Muzealnictwo 58, no. 1 (June 21, 2017): 123–0. http://dx.doi.org/10.5604/01.3001.0010.1025.

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Not so long ago, Poland was one of the European countries which lacked a research centre which would support museum institutions. Meeting numerous needs, the National Museum in Cracow (NMC) had been sharing the resources of its Laboratory with other museum institutions. This is how the National Centre for Research on Heritage (hereafter the Centre) was founded. Relying on equipment and specialists from the NMC Laboratory, the Centre offers multilateral research on objects and collections to Polish museum institutions. It organises contests which all Polish museums may apply to with their research projects. The Centre focuses on three main activities. Firstly, it carries out technological projects comprising the composition and features of materials used to make works of art. Secondly, there are projects linking technological research with analyses of the state of preservation and environmental conditions in order to safeguard works or sets of art or which are particularly culturally valuable. The third activity consists in joint interdisciplinary expertise with external research units. The Centre has also undertaken its own longterm programme of research into managing the protection of collections in a sustainable and effective way. Within the framework of the programme, methodology and tools for the quantitative assessment of risk are prepared. The development of the National Centre for Research, based on the already existing potential of the NMC, allows the effective usage of collected research equipment and the adaption of its activity to the real needs of museum institutions. At the same time, an important area of the Centre’s activity is the coordination and possibility of using the potential of groups conducting research in the field of heritage at the Polish Academy of Sciences or at higher education institutions. The next goal of the NMC is to expand the Centre’s activity on conservation work.
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Geismar, Haidy, and Christopher Tilley. "Negotiating Materiality: International and Local Museum Practices at the Vanuatu Cultural Centre and National Museum." Oceania 73, no. 3 (March 2003): 170–88. http://dx.doi.org/10.1002/j.1834-4461.2003.tb02816.x.

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Ruffins, F. D. "Culture Wars Won and Lost: Ethnic Museums on the Mall, Part I: The National Holocaust Museum and the National Museum of the American Indian." Radical History Review 1997, no. 68 (April 1, 1997): 79–100. http://dx.doi.org/10.1215/01636545-1997-68-79.

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Dissertations / Theses on the topic "National Holocaust Centre and Museum"

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Imbert, Clémence. "Oeuvres ou documents ? : un siècle d’exposition du graphisme dans les musées d’art moderne de Paris, New York et Amsterdam (1895-1995)." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080084/document.

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La thèse s’intéresse aux expositions de design graphique, à la fois en tant qu’événements constitutifs de l’histoire de la discipline et en tant qu’espaces (scénographiques et discursifs) où se manifestent ses liens plus ou moins assumés avec la création artistique. Elle s’appuie sur un corpus de quatre cents expositions, organisées entre 1895 et 1995, au sein de trois institutions muséales : le Stedelijk Museum d’Amsterdam, fondé en 1895, le Museum of Modern Art (MoMA) de New York, créé en 1929 et le Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), né en 1993 de la fusion de deux départements du Centre Pompidou. L’étude des archives de ces manifestations met au jour ce que furent les choix de programmation des musées (quels objets, quelles époques, quels graphistes mettent-elles en avant ?) ; mais aussi les différents statuts qui sont conférés aux objets imprimés, par la scénographie ou par les discours qui les environnent. La thèse révèle, notamment, la préférence des musées d’art moderne pour l’affiche, pour le graphisme « d’utilité publique » et pour le travail des « graphistes-auteurs ». À ce graphisme « de musée » sont appliqués des cadres interprétatifs qui le rapproche de la création artistique : assimilation du graphiste à un artiste, omission des circonstances de la commande, description des styles, recherche des influences… Les expositions de « communications visuelles » organisées par le CCI offrent un singulier contrepoint à ce modèle, dans la mesure où elles consacrent moins les « œuvres » du graphisme qu’elles ne s’interrogent sur leur contexte social de production et d’utilisation
This dissertation looks at graphic design exhibitions both as events that are part of the history of the discipline and as scenographic and academic forums for expressing, more or less consciously, its links with artistic creativity. It is based on the analysis of four hundred exhibitions, held between 1895 and 1995 at three modern art museums : the Stedelijk Museum in Amsterdam, founded in 1895, the MoMA in New York, inaugurated in 1929 and the Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), created in 1993 after the fusion of two separate departments of the Centre Pompidou. The archives of these exhibitions highlights both the choices of programming (what objects, eras and graphic designers do they ?), and the various status confered to printed objects by scenography and surrounding texts and discourses. The dissertation reveals the preference of modern art museums for posters, for graphic design for the public domain, and for the work of ‘graphic designers-cum-authors’. This specific graphic design elected by museums is envisionned according to interpretative frames that likens it to artistic creation through the rapprochement between graphic designers and artists, the omission of circumstances pertaining to commissions, descriptions of styles, search for influences, etc. The ‘visual communication’ exhibitions organised by the CCI provide a striking contrast to this model in so far as they concentrated less on the actual ‘works’ of graphic design than on the social context of their production and use
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Gauvin, Nicolas A. "Représenter l'Holocauste, le traitement et la représentation de l'Holocauste dans les musées-mémoriaux d'Amérique du Nord; étude comparative, le United States Holocaust Memorial Museum et le Centre commémoratif de l'Holocauste à Montréal." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ44880.pdf.

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Kinoshita, Harumi. "La diffusion culturelle internationale : les enjeux de la politique de prêts d'oeuvre et d'expositions du MNAM-CCI (Centre Georges Pompidou) pendant la période 2000-2007." Phd thesis, Université d'Avignon, 2011. http://tel.archives-ouvertes.fr/tel-00767576.

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Le musée contemporain ne se caractérise plus seulement comme un lieu voué à préservation, conservation et présentation des collections mais comme un lieu inscrit dans des réseaux, comme le montre l'étude de la politique de diffusion : celle-ci est l'objet de ma thèse en sciences de l'information et de la communication intitulée " La diffusion culturelle à l'échelle internationale : les enjeux de la politique du prêt des œuvres et des expositions du Mnam-Cci (Centre Georges Pompidou) pendant la période 2000-2007 ".Le Mnam-Cci est l'un des plus importants musées au monde grâce à sa collection d'art moderne et contemporain. Il offre non seulement des expositions temporaires mais aussi de nombreuses activités culturelles : cinémas, conférences, concerts, spectacles. Sa collection se compose de 60 000 œuvres, est empruntée auprès des musées du monde entier.Compte tenu de la richesse de la collection, la politique du prêt des œuvres est l'une des stratégies importantes du musée. Dans la perspective d'une étude muséologique, l'analyse de la politique du prêt des œuvres nous paraît des plus pertinentes.La première partie de la thèse met en évidence les mécanismes de la circulation des œuvres et celles des expositions dans un contexte des territoires à l'échelle internationale. La deuxième partie de la thèse décirt la circulation des biens culturels à l'heure de la mondialisation. La dernière partie de la thèse montre le développement de la stratégie communicationnelle à l'échelle internationale à travers la politique de diffusion.C'est ainsi que ce travail montre la diffusion culturelle à l'échelle internationale par l'intermédiaire de la politique du prêt des œuvres et des expositions du Mnam-Cci.
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Gledhill, James. "Into the past : nationalism and heritage in the neoliberal age." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12114.

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This thesis examines the ideological nexus of nationalism and heritage under the social conditions of neoliberalism. The investigation aims to demonstrate how neoliberal economics stimulate the irrationalism manifest in nationalist idealisation of the past. The institutionalisation of national heritage was originally a rational function of the modern state, symbolic of its political and cultural authority. With neoliberal erosion of the productive economy and public institutions, heritage and nostalgia proliferate today in all areas of social life. It is argued that this represents a social pathology linked to the neoliberal state's inability to construct a future-orientated national project. These conditions enhance the appeal of irrational nationalist and regionalist ideologies idealising the past as a source of cultural purity. Unable to achieve social cohesion, the neoliberal state promotes multiculturalism, encouraging minorities to embrace essentialist identity politics that parallel the nativism of right-wing nationalists and regionalists. This phenomenon is contextualised within the general crisis of progressive modernisation in Western societies that has accompanied neoliberalisation and globalisation. A new theory of activist heritage is advanced to describe autonomous, politicised heritage that appropriates forms and practices from the state heritage sector. Using this concept, the politics of irrational nationalism and regionalism are explored through fieldwork, including participant observation, interviews and photography. The interaction of state and activist heritage is considered at the Wewelsburg 1933-1945 Memorial Museum in Germany wherein neofascists have re-signified Nazi material culture, reactivating it within contemporary political narratives. The activist heritage of Israeli Zionism, Irish Republicanism and Ulster Loyalism is analysed through studies of museums, heritage centres, archaeological sites, exhibitions, monuments and historical re-enactments. These illustrate how activist heritage represents a political strategy within irrational ideologies that interpret the past as the ethical model for the future. This work contends that irrational nationalism fundamentally challenges the Enlightenment's assertion of reason over faith, and culture over nature, by superimposing pre-modern ideas upon the structure of modernity. An ideological product of the Enlightenment, the nation state remains the only political unit within which a rational command of time and space is possible, and thus the only viable basis for progressive modernity.
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Gouws, Brenda Raie. "Investigating Holocaust education through the work of the museum educators at the Durban Holocaust Centre : a case study." Thesis, 2011. http://hdl.handle.net/10413/6074.

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What is the work of the Durban Holocaust Centre museum educators and how are they shaping Holocaust education there? These questions provided the impetus for this study. Education about the Holocaust has been included in curricula not only in South African schools but in various countries around the world. The reasons for this extends beyond the hard historical facts and figures and go to the heart of a human search for meaning and the desire to promote democracy and human rights in society. The Holocaust was an event in which millions of Jewish men, women and children were murdered as well other ethnic groups. The dilemmas they faced and the decisions taken at that time differentiated the participants into victims, perpetrators, bystanders and upstanders. In the years since the end of World War II, people have strived to extract meaning from those events and to teach it to new generations in order to create a better world - a world in which bullying, racial and ethnic taunts and tensions, violence, discrimination against minorities and strangers, and genocide still occur. The findings show that as in other places in the world, this is the educational focus at the DHC. Teaching the history and events is the bedrock on which this social Holocaust education rests but it takes second place in the educational programme to this social goal. The findings show the local context for this learning is significant and that apartheid, racism and xenophobia all underpin the museum educators' educational philosophies while mother-tongue language moulds their teaching strategies. The museum educators play a pivotal role in presenting the educational programme and in so doing shaping the Holocaust for the visiting learners and teachers.
Thesis (M.Ed.)-University of KwaZulu-Natal, Edgewood, 2011.
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Koszewska, Julia Maria. "Memory of the Holocaust in the Process of Shaping Collective Identity. Education in National Museums in Poland and Israel after 1995." Doctoral thesis, 2019. https://depotuw.ceon.pl/handle/item/3571.

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Rok 1995 oddziela półwiecze, jakie upłynęło od Holokaustu jako wydarzenia historycznego. Ten dystans czasowy stał się wyzwaniem dla narracji historycznej: problem historycznego ludobójstwa i jego interpretacji nabrał charakteru uniwersalnego doświadczenia ludzkości, zmienili się także adresaci przekazu. Nie są to już ocaleni z Zagłady ani jej bezpośredni świadkowie. Dziś adresatem przekazu jest trzecie lub czwarte pokolenie, które nie ma już własnych doświadczeń. Tworzona na nowo pamięć zbiorowa kształtuje ich zbiorową świadomość i tożsamość. Muzea – instytucje pamięci narodowej - są współodpowiedzialne za kształtowanie pamięci zbiorowej poprzez swoją działalność edukacyjną. W moich badaniach przedstawiam w sposób porównawczy monograficzne opracowania dotyczące organizacji, ekspozycji i przekazu dwóch państwowych muzeów: w Polsce i Izraelu (muzeum Auschwitz-Birkenau i muzeum Jad Waszem). Poddaję analizie ich programy edukacyjne kształtowane w latach 1995-2010. Rok 1995 traktowany jest tutaj jako symboliczny punkt zwrotny, od którego zmieniła się narracja opowieści i nauczanie o Holokauście oraz przekaz w zakresie edukacji jako czynniku kształtującym zbiorową tożsamość. W mojej pracy założyłam dwie hipotezy: jedną o charakterze bardziej ogólnym, drugą szczegółowym. Pierwsza z nich zakłada, że to samo wydarzenie historyczne, jakim była Zagłada, jest przedstawiane w różny sposób w każdym z badanych muzeów. Założeniem było, że narracja historyczna została poddana różnym w obu przypadkach procesom performatywnym, ukierunkowanym tak aby odpowiedzieć na inne w każdym przypadku potrzeby państwa, które jest fundatorem muzeum. Druga hipoteza zakłada, że zamierzoną narracją w Polsce, w muzeum Auschwitz-Birkenau, jest kształtowanie pamięci zbiorowej jako części pamięci europejskiej, podczas gdy pamięć zbiorowa w narracji Jad Waszem dodaje kontekst europejski do państwowo-narodowej izraelskiej pamięci Żydów. Pamięć o Holokauście, według narracji muzeum Auschwitz-Birkenau, ma służyć jako memento, podczas gdy pamięć o tym samym wydarzeniu według narracji Jad Waszem służy jako kontrapunkt teraźniejszości i lekcja na przyszłość. Przyjmując paradygmat performatywności, poddałam analizie programy i działania edukacyjne, interpretując nie tylko ich zawartość treściową, lecz również proces ich tworzenia. Analizowałam oficjalne publikacje muzealne z lat 1995-2010, takie jak: wytyczne i podręczniki, roczne raporty podsumowujące pracę muzeów, biuletyny (newslettery) oraz inne czasopisma wydawane w tych muzeach, narracje przewodników – osób oprowadzających po ekspozycji. Dokonałam również analizy porównawczej internetowych stron obu muzeów. Drugą grupą materiałów, których analizę przeprowadziłam w niniejszym opracowaniu, były wystawy i wytyczne dotyczące tych wystaw, a także materiały informacyjne z powyższego okresu. Trzecią grupę materiałów stanowiły półustrukturyzowane wywiady eksperckie, które prowadziłam z pracownikami muzeów. Czwartą grupę stanowiła moja obserwacja uczestnicząca w wydarzeniach edukacyjnych w muzeum Auschwitz-Birkenau oraz nieuczestnicząca w Jad Waszem. Wnioski wypływające z moich badań dotyczą różnicy przekazu w obu muzeach. Jak potwierdziły moje badania, narracja pamięci zbiorowej o Holokauście ma w muzeum Auschwitz-Birkenau charakter uniwersalny i ukierunkowana jest na miejsce, w którym zdarzyła się katastrofa cywilizacyjna przedstawiana jako memento dla całej ludzkości. Pamięć ta skoncentrowana jest na kształtowaniu tożsamości zbiorowej i tworzeniu ogólnoeuropejskiej wspólnoty dyskursywnej wokół pamięci o Holokauście, której częścią jest pamięć i tożsamość polska. Natomiast pamięć zbiorowa przedstawiana w Jad Waszem jest prezentowana przede wszystkim jako katastrofa narodu żydowskiego i punkt odniesienia dla przyszłości Państwa Izrael. Tworzy ona narodowość izraelską, a dokładniej żydowską tożsamość Izraela.
The year 1995 is already half a century after the historical event of the Holocaust. This time distance has posed a challenge and change in the narrative: the problem of the historical genocide became more universalised in its interpretation and the audience has also changed from the survivors and the witnesses to the 3rd and 4th generation afterwards with no personal cognitive presumptions. The newly created collective memory shapes their collective consciousness and identity. The historical museums – as the institutions of national memory - are co-responsible for shaping the collective memory notably through educational activities. In my research I present, in a comparative approach, the monographs of two state museums in Poland and Israel (the Auschwitz-Birkenau State Museum and The Yad Vashem Institute) and analyse their educational programs in the years 1995-2010. The year 1995 is treated as a symbolic turning point in the narrative about the Holocaust and the education on this subject. I have posed two hypotheses in this study: one is more general and the other is of a more detailed character. The first one is that the same historical event (the Holocaust) is presented in different forms by the two museums due to the subjection to different performative processing, so as to respond to the different needs of each state, and to establish different messages in shaping the collective identity of each country. The second hypothesis is that the intended narrative in Poland at the Auschwitz-Birkenau State Museum is presenting the Polish collective memory as a part of European memory, while the realised narrative in Israel, at the Yad Vashem museum, adds the European context to the national Israeli Jewish memory. The collective memory of the Auschwitz-Birkenau State Museum is a memento, while at the Yad Vashem Institute it is a point of reference for the present and aiming to be used as an impulse for the act of consciously creating the future. In the performative paradigm, I analyse the educational programs and activities and interpret not only their content but also the processes of shaping them. I studied the published official materials of the museums, that is: guidelines and manuals for education, annual reports as well as newsletters/magazines published by the museums, the guides’ narrations and subsequently the internet websites of the museums from the period of 1995 - 2010. Second type of materials was the exhibitions and guidelines as well as the published materials about the exposition of that period. The third analysed set of materials was constituted by the semi-structured expert interviews with museum employees. The fourth type of sources was my observation of the educational performance: participative observation in Auschwitz-Birkenau and non-participative in Yad Vashem. The results of my study pertain to the differences of the message propagated by the two museums. As my research confirmed, the narrative of the collective memory of the Holocaust as presented in the Auschwitz-Birkenau State Museum is universal and is directed at the place of the human catastrophy shown as a memento for the whole humanity. This memory is focused on shaping the collective memory and creating the pan-European discourse community around the Holocaust memory, which would include the Polish memory and identity. The collective memory, as presented in Yad Vashem, is rather a point of reference for the present, and rather an impulse for the continuous conscious creation of the future of the State of Israel. Hence it is rather to create Israeli national, or more precisely: Jewish Israeli identity.
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Gauvin, Nicolas A. "Représenter l'Holocauste : le traitement et la représentation de l'Holocauste dans les musées-mémoriaux d'Amérique du Nord : étude comparative--le United States Holocaust Memorial Museum et le Centre commémoratif de l'Holocauste à Montréal." Thesis, 1996. http://spectrum.library.concordia.ca/205/1/MQ44880.pdf.

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Cette recherche a pour objet l'étude de la présentation des mémoriaux de l'Holocauste de Washington et de Montréal. En plus d'une description sommaire de l'histoire de la perception de l'Holocauste en Amérique du Nord, une contextualisation de l'histoire des deux institutions et une description sommaire des expositions permanentes présentées par celles-ci, une analyse de la présentation est proposée. L'objectif premier est de mettre en relief les partis-pris des gestionnaires des musées et des concepteurs d'exposition, en ce qui a trait à la diversité des interprétations possibles de l'Holocauste. Situés à cheval entre la mémoire et l'histoire sur l'échelle temporelle, les musées posent la question de la pérennité et de nombreuses interrogations sont soulevées quant à la ±véracité» et la qualité du récit qu'ils proposent aux visiteurs.
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Hsu, Ya-Chi, and 許亞琦. "The Contemporary Art Turn of Centre Pompidou: A Study on the “Contemporary Collections : From the 1960’s to Today” of the National Museum of Modern Art." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/fevhb2.

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碩士
國立臺北藝術大學
博物館研究所碩士班
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This thesis takes Contemporary Collections : From the 1960’s to Today, a permanent collection exhibition of the Musée National d’Art Moderne in Centre Pompidou, as object of study. We aim to explore how this art institution embodied the contemporary art turn through its institution positioning, art history constructing and its exhibition thinking. The Centre Pompidou is not a museum dedicated exclusively to fine arts. It combines various fields including Musée National d’Art Moderne, Centre de Création Industielle, Département du Dévéloppement Culturel, Institut de Recherche et de Coordination Acoustique/Musique and Bibliothèque Publique d’Information. It has been a cultural complex that had redefined the boundaries of the museum walls. The Centre Pompidou has collected a considerable number of modern and contemporary art works. It parallels with the Musée du Louvre (collecting artworks from ancient art to 1850) and the Musée d''Orsay (collecting artworks from 1848 to 1914) as the top three typical national art museums bearing distinguished tasks in constructing art history. The Musée National d’Art Moderne conceived the year 1960 as the watershed from which the arts had turned from modern toward contemporary and declared the contemporary implication of interdisciplinary art through collecting not only the plastics arts but also works of creative and multi-dimensional categories and carriers, such as photography, experimental films, videos, new media, industrial creative works, designs and architectures. This thesis tries to demonstrate that the permanent exhibition of contemporary art collection proves its museum task shifting toward contemporary art. In interpreting this permanent collection exhibitions, we explore three perspectives: its definition of temporality, its composition of spaces, and its historical narratives of contemporary arts. And we’ll see there exists continuing contradictions between modern art museum and contemporary art exhibition. By this study, we propose a further discussion of the neccecity of an art institution for contemporary art.
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Johnson, Kay. "Unsettling exhibition pedagogies: troubling stories of the nation with Miss Chief." Thesis, 2019. http://hdl.handle.net/1828/11132.

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Museums as colonial institutions and agents in nation building have constructed, circulated and reinforced colonialist, patriarchal, heteronormative and cisnormative national narratives. Yet, these institutions can be subverted, resisted and transformed into sites of critical public pedagogy especially when they invite Indigenous artists and curators to intervene critically. They are thus becoming important spaces for Indigenous counter-narratives, self-representation and resistance—and for settler education. My study inquired into Cree artist Kent Monkman’s commissioned touring exhibition Shame and Prejudice: A Story of Resilience which offers a critical response to Canada’s celebration of its sesquicentennial. Narrated by Monkman’s alter ego, Miss Chief Eagle Testickle, the exhibition tells the story of the past 150 years from an Indigenous perspective. Seeking to work on unsettling my “settler within” (Regan, 2010, p. 13) and contribute to understandings of the education needed for transforming Indigenous-settler relations, I visited and studied the exhibition at the Glenbow Museum in Calgary, Alberta and the Confederation Centre Art Gallery in Charlottetown, Prince Edward Island. My study brings together exhibition analysis, to examine how the exhibition’s elements work together to produce meaning and experience, with autoethnography as a means to distance myself from the stance of expert analyst and allow for settler reflexivity and vulnerability. I developed a three-lens framework (narrative, representational and relational/embodied) for exhibition analysis which itself became unsettled. What I experienced is an exhibition that has at its core a holism that brings together head, heart, body and spirit pulled together by the thread of the exhibition’s powerful storytelling. I therefore contend that Monkman and Miss Chief create a decolonizing, truth-telling space which not only invites a questioning of hegemonic narratives but also operates as a potentially unsettling site of experiential learning. As my self-discovery approach illustrates, exhibitions such as Monkman’s can profoundly disrupt the Euro-Western epistemological space of the museum with more holistic, relational, storied public pedagogies. For me, this led to deeply unsettling experiences and new ways of knowing and learning. As for if, to what extent, or how the exhibition will unsettle other visitors, I can only speak of its pedagogical possibilities. My own learning as a settler and adult educator suggests that when museums invite Indigenous intervention, they create important possibilities for unsettling settler histories, identities, relationships, epistemologies and pedagogies. This can inform public pedagogy and adult education discourses in ways that encourage interrogating, unsettling and reorienting Eurocentric theories, methodologies and practices, even those we characterize as critical and transformative. Using the lens of my own unsettling, and engaging in a close reading of Monkman’s exhibition, I expand my understandings of pedagogy and thus my capacities to contribute to understandings of public pedagogical mechanisms, specifically in relation to unsettling exhibition pedagogies and as part of a growing conversation between critical adult education and museum studies.
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Books on the topic "National Holocaust Centre and Museum"

1

Jewish, Holocaust Museum and Research Centre (Melbourne Vic ). 10 years: Jewish Holocaust Museum and Research Centre, Melbourne, 1984-1994. Elsternwick, Vic: Jewish Holocaust Museum and Research Centre, 1994.

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David, Hockney. David Hockney: Grimms' fairy tales : a national touring exhibition from the South Bank Centre. London: South Bank Centre, 1993.

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Matisse, Henri. Matisse: La collection du Centre Georges Pompidou, Musée national d'art moderne. Paris: Centre Georges Pompidou, 1998.

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Workshop, on the Services and Operation of the Museum and Reference Centre (1987 Bangkok Thailand). Health information system and services: Proceedings of the Workshop on the Services and Operation of the Museum and Reference Centre, SEAMEO-TROPMED National Centre of Thailand. Bangkok: Museum and Reference Centre, Faculty of Tropical Medicine, Mahidol University, 1987.

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Moholy-Nagy, László. Laszlo Moholy-Nagy: Fotogramme 1922-1943 : aus den Sammlungen des Musée national dʹart moderne, Centre de création industrielle, Centre Georges Pompidou, Paris und des Museum Folkwang, Essen. München: Schirmer/Mosel, 1996.

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Museum, Australian National Maritime. Painted ships, painted oceans: Art and artefacts from the Australian National Maritime Museum : SH Ervin Gallery, National Trust Centre, Observatory Hill, Sydney, 14 September-14 October 1990. Sydney, NSW: The Museum, 1990.

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Chagall, Marc. Marc Chagall: Works from the collections of the Museé national d'art moderne, Centre Georges Pompidou, Paris. Montreal, Quebec, Canada: Montreal Museum of Fine Art, 1988.

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Morvan, Jean-Jacques. Nuit et brouillard: Jean-Jacques Morvan. Paris: Somogy, 1998.

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United, States Congress Senate Committee on Energy and Natural Resources Subcommittee on National Parks Historic Preservation and Recreation. Hermann Monument and park bills: Hearing before the Subcommittee on National Parks, Historic Preservation, and Recreation of the Committee on Energy and Natural Resources, United States Senate, One Hundred Sixth Congress, second session, on S. 2294, S. 2331, S. 2598, S. Con. Res. 106, July 13, 2000. Washington: U.S. G.P.O., 2000.

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Twombly, Cy. Cy Twombly: Peintures, œuvres sur papier, sculptures : Musée national d'art moderne, Galeries contemporaines, Centre Georges Pompidou, 17 février-17 avril 1988. Paris: Editions du Centre Pompidou, 1988.

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Book chapters on the topic "National Holocaust Centre and Museum"

1

Stiles, Emily-Jayne. "Reshaping Holocaust Memory in the National Museum, Post-2021." In The Holocaust and its Contexts, 191–206. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-89355-2_7.

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Hass, Matthias. "The Establishment of National Memorials to the Nazi Past: Yad Vashem, the United States Holocaust Memorial Museum and the Topography of Terror Foundation." In How the Holocaust Looks Now, 163–72. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230286566_15.

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Sheskin, Ira, and Arnold Dashefsky. "Jewish Institutions: Jewish Federations, Jewish Community Centers, Jewish Social Service Agencies, National Jewish Organizations, Synagogues, College Hillels, Jewish Day Schools, Jewish Overnight Camps, Jewish Museums, Holocaust Museums, Memorials and Monuments." In American Jewish Year Book, 397–740. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09623-0_20.

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"Chapter 10 Cultural Interfaces to Environmental Data at the Questacon National Science Centre, Australia." In Museum Websites and Social Media, 169–77. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781782388692-013.

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Hasian, Marouf A., and Nicholas S. Paliewicz. "The EJI, the Legacy Museum, and “Postgenocide” America." In Racial Terrorism, 184–202. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831743.003.0009.

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This chapter studies the counterpart to the National Memorial for Peace and Justice, the Legacy Museum. Attending to the affective and cerebral displays of racial pasts and presents, the authors show how the museum presents a timeline of racial terrorism from slavery to the present era of mass incarceration of persons of color. The hauntologies of the Legacy Museum not only radically critique the colorblind discourses of civil rights remembrances, but they also raise questions about the possibilities of the need to remember an African American Holocaust.
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"THE GENESIS AND STRUCTURE OF THE NATIONAL SOCIALIST CONCENTRATION CAMPS." In The United States Holocaust Memorial Museum Encyclopedia of Camps and Ghettos, 1933-1945, Volume I, 183–96. Indiana University Press, 2009. http://dx.doi.org/10.2307/j.ctt16gzb17.10.

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Webber, Jonathan, Chris Schwarz, and Jason Francisco. "How the Past Is Being Remembered." In Rediscovering Traces of Memory, 123–32. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786940872.003.0005.

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This chapter presents some of the ways in which the massive destruction wrought during the Holocaust that brought nearly all Jewish life in Poland to an end has been locally commemorated by both Poles and Jews. It considers how the events of the Holocaust and the local pre-war Jewish past are being remembered and preserved. It also discusses the Holocaust memorialization that started after the war but was hampered by widespread trauma of surviving Jews and the local Jewish population that suffered devastating loss. The chapter recounts how the communist government of Poland spent forty years presenting huge crimes committed during the German occupation as Polish national martyrdom at the hands of Hitler's fascists. It talks about the preservation of the Auschwitz site as a memorial and museum in 1947.
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Hanna, Emma. "Patriotism and pageantry: representations of Britain’s naval past at the Greenwich Night Pageant, 1933." In A new naval history, 215–31. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526113801.003.0011.

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This chapter explores how ideas and images of Britain’s Naval past were represented by the historian Arthur Bryant and the president of the Royal Naval College, Admiral Barry Domvile, at the Greenwich Night Pageant in June 1933. Bryant sought to revitalise the present by romanticizing the past, motivated by his desire to raise awareness of Britain’s past glories to halt a perceived decline in patriotism during the interwar period. Using material sourced from a range of archives, including the National Maritime Museum, the Liddell Hart Centre for Military Archives and the National Archives, this article will show how representations of Britain’s naval heritage was utilised in debates about the nature of British identity in an era of imperial decline and an increasingly volatile international situation in the period before the Second World War.
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Linenthal, Edward T. "“The Predicament of Aftermath” : Oklahoma City and September 11." In The Resilient City. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195175844.003.0007.

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Memorial response in the wake of violence is an expression of resilience—whether marking “everyday” acts of murder, or more dramatic outbreaks of terrorism or war. Particularly in an age of mass death, when individuals become statistics signifying the anonymous death of millions, such response is about more than providing a tranquil sacred space for rituals of mourning. It is a protest, a way of saying, “We will not let these dead become faceless and forgotten. This memorial exists to keep their names, faces, stories in our memories.” Increasingly, memorial expression has become an immediate language of engagement, not just a language of commemoration. This is clearly evident in the rise of a new generation of activist memorial environments, in particular the U.S. Holocaust Memorial Museum and the Oklahoma City National Memorial, consciously modeled after the Holocaust Museum. Both include memorial space, museum exhibition space, archival space, educational space, and outreach programs, promoting activist agendas designed to spark civic energies to combat anti- Semitism, terrorism, and other ills of modernity. Ideally, these institutions are sites of conscience on the civic landscape. Their role is to immerse visitors in a compelling and often horrific story, and transform them into actively engaged citizens. The terrorist attacks in Oklahoma City on April 19, 1995, and in New York on September 11, 2001, brought communities together and at the same time tore them apart. Whether represented in thousands of letters suggesting appropriate memorial forms, in the creation of so called spontaneous memorials—so popular now that they represent “planned spontaneity” and perhaps even memorial cliché—or in the formation of formal memorial processes, memorial expression helps people to transform bereavement, anger, fear, and resolve into an active communal grief that mournfully celebrates ongoing life, albeit transformed. There is instability in memorial expression, however. The fragility of memory is never more apparent than when memorials are envisioned. Memorial expression tasks creators to ensure remembrance through significant memorial forms, since the danger of forgetfulness, even oblivion, is enduring. There is instability as well in the rhetoric of civic resilience, which bravely proclaims that just as those murdered will be intensely remembered through memorials, the cityscape will be intensely remembered through acts of civic renewal.
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Reports on the topic "National Holocaust Centre and Museum"

1

Radonić, Ljiljana. Genocide Remembrance Cultures in a European Comparison. Verlag der Österreichischen Akademie der Wissenschaften, January 2023. http://dx.doi.org/10.1553/0x003dfcbd.

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Much has been written about Holocaust museums and memorials. Ljiljana Radonić focuses in this text[1] to the way the Shoah is exhibited in national museums (especially in Central and Eastern Europe) yet devoted to other tragic events. But why? It is not so much a matter of repairing an omission as of evoking Jewish suffering as a model. In many cases, the message to be understood: “Our” victims suffered “like the Jews”.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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