Manuscripts in the Archives of Academician M.V. Keldysh Memorial Museum-Study

Why do we attach so much value to sites of Holocaust memory, if all we ever encounter are fragments of a past that can never be fully comprehended? David Duindam examines how the Hollandsche Schouwburg, a former theater in Amsterdam used for the registration and deportation of nearly 50,000 Jews, fell into disrepair after World War II before it became the first Holocaust memorial museum of the Netherlands. Fragments of the Holocaust: The Amsterdam Hollandsche Schouwburg as a Site of Memory combines a detailed historical study of the postwar period of this site with a critical analysis of its contemporary presentation by placing it within international debates concerning memory, emotionally fraught heritage and museum studies. A case is made for the continued importance of the Hollandsche Schouwburg and other comparable sites, arguing that these will remain important in the future as indexical fragments where new generations can engage with the memory of the Holocaust on a personal and affective level.

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REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series ◽

10.28995/2686-7249-2020-8-116-132 ◽

2020 ◽

pp. 116-132

Author(s):

Tat'yana Yu. Mironova ◽

Keyword(s):

United States ◽

Contemporary Art ◽

Historical Memory ◽

The United States ◽

Art Exhibitions ◽

Holocaust Memorial ◽

Memorial Museum ◽

Holocaust Memorial Museum ◽

Changing Attitudes ◽

Historical Issues

Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.

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III.—The occurrence of Marsupites in Flints on the Haldon Hills

Geological Magazine ◽

10.1017/s0016756800178136 ◽

1902 ◽

Vol 9 (10) ◽

pp. 449-450

Author(s):

A. J. Jukes-Browne

Keyword(s):

Natural History ◽

Natural History Society ◽

Memorial Museum

While examining recently a collection of specimens from the flint-gravel of the Haldon Hills in the Museum of the Torquay Natural History Society, I discovered among them four containing casts of plates of Marsupites testudinarius. Moreover, in reply to enquiries, Professor Clayden, of Exeter, informs me that the Albert Memorial Museum there possesses five such plates, and that one was found by Mr. F. J. Collins, of Exeter, about three years ago, so that the fossil appears to be not uncommon in the Haldon flints, and consequently it seems worth while putting the fact of its occurrence on record, with some of the inferences that may be drawn from it.

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