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This book shows how vernacular communities commemorate their traumatic experiences of the Second World War. Despite having access to many diverse memory frameworks typical of late modernity, these communities primarily function within... more
This book shows how vernacular communities commemorate their traumatic experiences of the Second World War. Despite having access to many diverse memory frameworks typical of late modernity, these communities primarily function within religious memory frameworks. The book also traces how they reacted when their local histories were incorporated into the remembrance practices of the state. The authors draw on case studies of four vernacular communities, notably Kałków-Godów, Michniów, Jedwabne and Markowa, to argue that it is still possible in the Polish countryside to discover milieux de mémoire. At the same time, they show that the state not only uses local histories to bolster its moral capital in the international arena, but also in matters of domestic policy.
Gulag Memories shows how the Soviet repressions were commemorated in Russia from the late 1980s onwards, a liminal period when the state no longer made memory of the repressions a taboo topic but had not yet introduced an official state... more
Gulag Memories shows how the Soviet repressions were commemorated in Russia from the late 1980s onwards, a liminal period when the state no longer made memory of the repressions a taboo topic but had not yet introduced an official state policy on their remembrance. This book investigates the first Gulag memory projects, which usually took the form of memorials or exhibitions, and what social functions they performed. It also provides a thick description of these projects, which examines the cultural and social background to these projects and the discussions that revolved around them in some depth. This should help the reader to understand why, despite the Memorial Society’s attempts to transform Gulag memory into an important unifying agent binding together a nascent democratic community, its secular interpretation of the past never met with full social acceptance. Instead, it is the New Martyrdom interpretation offered by the Russian Orthodox Church that ultimately received state support and is currently being used to create an identity for a new national community grounded in Russian Orthodoxy. Gulag Memory therefore not only explains the process whereby a conceptual framework for Gulag memory was formed, but also elucidates the social function of this memory within contemporary Russia. This should enable the meanings of today’s projects and memorialization activities to be better comprehended.
W kulturze współczesnej, w kulturze później nowoczesności, jesteśmy świadkami i uczestnikami przełomu w obszarze pamięci społecznej. Z jednej strony wciąż mamy do czynienia z upamiętnieniami charakterystycznymi dla przednowoczesności i... more
W kulturze współczesnej, w kulturze później nowoczesności, jesteśmy świadkami i uczestnikami przełomu w obszarze pamięci społecznej. Z jednej strony wciąż mamy do czynienia z upamiętnieniami charakterystycznymi dla przednowoczesności i nowoczesności, czego wyrazem jest ciągłe wykorzystywanie symboliki religijnej jako nośnika pamięci, wznoszenie pomników, czy odtwarzanie rytuałów obchodów rocznicowych. Z drugiej strony coraz częściej pamięć społeczna wyraża się w szeregu nowych form pamięci, stymulowanych nowymi technikami komunikacji, archiwizacji itp., ale też działaniach wskazujących na nowe sposoby przeżywania przeszłości, oparte na zmysłowym (estetycznym) i emocjonalnym zaangażowaniu w performans odtwarzający to, co było. Mając na uwadze ciągłości i zmiany widoczne w obszarze pamięci społecznej autorzy niniejszej monografii podjęli się dyskusji wokół starych i nowych form manifestacji pamięci. Czytelnik znajdzie tu zarówno teksty teoretyczne jak i szczegółowe studia przypadku. Niewątpliwą wartością publikacji jest to, że pokazuje ona całe spektrum starych i nowych form upamiętniania, od pomników, przez muzea i rytuały upamiętniające po rekonstrukcje historycznych. Ponadto, czyni to odwołując się do upamiętnień różnych wydarzeń historycznych, Holocaustu, zbrodni katyńskiej, rzezi Wołynia, Powstania Warszawskiego, rzezi Woli, czy bitwy warszawskiej 1920 roku. Książka ta jest obowiązkową lekturą dla wszystkich zainteresowanych problematyką pamięci i przemianami upamiętniania we współczesnej Polsce.
Eastern European museums represent traumatic events of World War II, such as the Siege of Leningrad, the Warsaw Uprisings, and the Bombardment of Dresden, in ways that depict the enemy in particular ways. This image results from the... more
Eastern European museums represent traumatic events of World War II, such as the Siege of Leningrad, the Warsaw Uprisings, and the Bombardment of Dresden, in ways that depict the enemy in particular ways. This image results from the interweaving of historical representations, cultural stereotypes and beliefs, political discourses, and the dynamics of exhibition narratives. This book presents a useful methodology for examining museum images and provides a critical analysis of the role historical museums play in the contemporary world. As the catastrophes of World War II still exert an enormous influence on the national identities of Russians, Poles, and Germans, museum exhibits can thus play an important role in this process.

Contents:
List of Illustrations
Preface: Project's History (Zuzanna Bogumił)
Acknowledgements (Zuzanna Bogumił)
Introduction: The Enemy on Display
Chapter 1. Temple of Heroic Community: Soviet people, Leningraders and German-Fascists in the State Museum of the History of St Petersburg
Chapter 2. Temple of Romantic Martyrdom: Poles, Germans and Jews in the Historical Museum of Warsaw
Chapter 3. Forum Revising National Myths: Second World War in the Dresden City Museum
Conclusions
Appendix: Museum descriptions: The Second War World and City History
Notes on Contributors
関西学院大学(日本学術振興会・課題設定による先導的人文学・社会科学研究推進事業(グローバル展開プログラム)「グローバル社会におけるデモクラシーと国民史・集合的記憶の機能に関する学際的研究」プロジェクト)vii, 54 p
This article looks on Jedwabne and the debate on Polish involvement in the Holocaust from the perspective of the Jedwabians. The author shows that until the erection of the national monument to the murdered Jews in Jedwabne in 2001, the... more
This article looks on Jedwabne and the debate on Polish involvement in the Holocaust from the perspective of the Jedwabians. The author shows that until the erection of the national monument to the murdered Jews in Jedwabne in 2001, the Jedwabians’ memory of their Jewish neighbors was a part of local memory. Jedwabians commemorated the Jews in accordance with their frames of memory. The point is that the people in Jedwabne are first of all a members of parish community, so their memory is religious in nature. This has a profound effect on their relationship to the past and their perception of the role of monuments and memorials. By reconstructing the history of the erection of selected monuments in Jedwabne, the author shows which events of the past Jedwabians want to commemorate and what social function is played by memory of the commemorated events. She also considers to what degree memory of the group’s past lies at the base of the Jedwabians’ contemporary identity.
What happens when the Church engages in public negotiations of history by hosting and funding a museum? "The Blessed Jerzy Popiełuszko Museum in Warsaw" poses this question as it is located in a church and presents the life of... more
What happens when the Church engages in public negotiations of history by hosting and funding a museum? "The Blessed Jerzy Popiełuszko Museum in Warsaw" poses this question as it is located in a church and presents the life of Jerzy Popiełuszko, a Catholic priest who fought against the communist regime and was murdered in 1984. Today he is perceived both as a national hero and a Catholic martyr. The article critically reviews the current exhibition and how it combines questions of history and religion.
The authors analyse the presentation of WWII in the city museums of St Petersburg, Warsaw and Dresden. These narratives, they argue, are the effect of merging and interconnection of themes and elements coming from various types of... more
The authors analyse the presentation of WWII in the city museums of St Petersburg, Warsaw and Dresden. These narratives, they argue, are the effect of merging and interconnection of themes and elements coming from various types of discourse, shaped respectively by the local communities and by the state’s historical policy. Having characterised the most important elements of these two discourses, the authors indicate that to this day, the exhibitions contain interpretation patterns characteristic for the Cold War era. The dominant state discourse strongly influences the presentation of the city’s destruction and its inhabitants’ trauma. The exhibitions in both Warsaw and St Petersburg emphasize the image of an innocent victim attacked by the enemy, and present the city’s destruction in terms of lost but heroic struggle. In Dresden, there are visible references to the discourses of German guilt and German suffering. The exhibitions cannot detach themselves from the context of national...
This article is part of the special cluster titled Social practices of remembering and forgetting of the communist past in Central and Eastern Europe, guest edited by Malgorzata Glowacka-Grajper In the year 2000, during the Council of... more
This article is part of the special cluster titled Social practices of remembering and forgetting of the communist past in Central and Eastern Europe, guest edited by Malgorzata Glowacka-Grajper In the year 2000, during the Council of Bishops of the Russian Orthodox Church, more than one thousand victims of Soviet repressions—people persecuted and murdered by the Soviet regime—were glorified and named the New Russian Martyrs. By presenting the origin and background of the phenomenon, authors demonstrate that the New Martyrdom is a kind of invented tradition. They focus on analysis of the tension that occurs when history becomes religion by highlighting some problematic issues with regard to the New Martyrdom and showing how the Russian Orthodox Church is addressing them. The analysis sheds new light on the political use of religion for the creation of narrative about the past in contemporary Russia.
Existing analyses of the 1917 Russian Revolution centenary commemorations organised by the Russian Orthodox Church (Moscow Patriarchate) present the Church as a monolithic institution and argue that its commemorations resulted from a... more
Existing analyses of the 1917 Russian Revolution centenary commemorations organised by the Russian Orthodox Church (Moscow Patriarchate) present the Church as a monolithic institution and argue that its commemorations resulted from a political goal to become the leading expert in Russia’s politics of memory. In this contribution, we propose a more nuanced approach. Using concepts derived from memory studies, we claim that the Church’s centenary commemorations were the result of complex memory processes. First, it was a path-dependent product of two prior commemorations of historical events – the martyrdom of the new martyrs, and the restoration of the patriarchate. Second, it was a result of commemorative activities undertaken by different clergymen who are actively shaping memory of the past but who propose different interpretations of it. Finally, these agents of memory have activated the carrying capacity of different mnemonic representations to support their interpretations of the past, bringing significant change to the Russian Orthodox Church’s official memory of the 1917 Revolution.
In the year 2000, during the Council of Bishops of the Russian Orthodox Church, more than one thousand victims of Soviet repressions—people persecuted and murdered by the Soviet regime—were glorified and named the New Russian Martyrs. By... more
In the year 2000, during the Council of Bishops of the Russian Orthodox Church, more than one thousand victims of Soviet repressions—people persecuted and murdered by the Soviet regime—were glorified and named the New Russian Martyrs. By presenting the origin and background of the phenomenon, authors demonstrate that the New Martyrdom is a kind of invented tradition. They focus on analysis of the tension that occurs when history becomes religion by highlighting some problematic issues with regard to the New Martyrdom and showing how the Russian Orthodox Church is addressing them. The analysis sheds new light on the political use of religion for the creation of narrative about the past in contemporary Russia.
В 2017 году Россия отметила 100-летие Революции 1917 года и 80-летие начала Большого террора 1937–1938 годов. Важным событием этого года, имевшим символический смысл, было открытие «Стены скорби» – мемориала жертвам политических репрессий... more
В 2017 году Россия отметила 100-летие Революции 1917 года и 80-летие начала Большого террора 1937–1938 годов. Важным событием этого года, имевшим символический смысл, было открытие «Стены скорби» – мемориала жертвам политических репрессий – в Москве 30 октября 2017 года, в государственный День памяти жертв политических репрессий. Открывал «Стену скорби» президент России Владимир Путин, который в 2015 году поддержал инициативу правозащитников и издал указ о возведении памятника.
Руководитель Фонда памяти, специально созданного для строительства мемoриала, Роман Романов – директор Государственного Музея истории ГУЛАГа, один из наиболее влиятельных агентов памяти о политических репрессиях в России. Интервью с ним, взятое Зузанной Богумил в июле 2018 года, дает представление о том, как юбилейный год повлиял на память о политических репрессиях и какую роль в новых проектах памяти, широко поддерживаемых российскими властями, занимает Соловецкий архипелаг. Романов – ключевая фигура в создании Ассоциации российских музеев памяти, сохраняющих память о советских репрессиях. Кроме того, он является членом рабочей группы по координации деятельности, направленной на реализацию выработанной в 2015 году концепции государственной политики по увековечению памяти жертв политических репрессий.
W artykule odwołuję się do polsko-niemieckiego dialogu, uważanego za wzorcowy przykład pojednania, po to by uczynić go punktem referencyjnym dla polsko-rosyjskich i polsko-ukraińskich konfliktów i dialogów. Postanowiłam skupić się na... more
W artykule odwołuję się do polsko-niemieckiego dialogu, uważanego za wzorcowy przykład pojednania, po to by uczynić go punktem referencyjnym dla polsko-rosyjskich i polsko-ukraińskich konfliktów i dialogów. Postanowiłam skupić się na dialogach, z tymi dwoma sąsiadami, gdyż to właśnie pamięć o cierpieniach doznanych od tych dwóch sąsiadów zyskuje w ostatnich latach coraz wyrazistszą formę w postaci nowych pomników, muzeów i uroczystości upamiętniających  co pokazuje, że jest to pamięć gorąca i zyskująca coraz ważniejsze miejsce w polskiej pamięci narodowej. Ponieważ w okresie PRL-u o zbrodniach doznanych od tych dwóch sąsiadów nie można było mówić w oficjalnym dyskursie, pomniki upamiętniające ofiary tych zbrodni zaczęły powstawać dopiero po przełomie 1989 roku. Interesuje mnie zatem tekstura, aby użyć terminu James Younga (1993), powstających miejsc pamięci i to co mówią owe pomniki o pamięci tamtych wydarzeń i ich miejscu w polskiej pamięci narodowej.
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In this article we consider the importance of the Solovetskie Islands for understanding of the memory of the Gulag in Russia. To better explain our argumentation we take a program we have developed for the Center for Polish-Russian... more
In this article we consider the importance of the Solovetskie Islands for understanding of the memory of the Gulag in Russia. To better explain our argumentation we take a program we have developed for the Center for Polish-Russian Dialogue and Understanding, which in July 2017 organized a summer school for PhD students from Poland and Russia on the Solovetskie Islands. By showing the assumptions and goals of the course we explain the complexity of the memory of Soviet repressions on Solovki in particular and in Russia in general. We describe the different memory narratives of Solovki’s repressive past that are present on the islands. We show that to understand the memory of Soviet repressions, it is important to recognize these diverse narratives produced by different memory actors, such as activists with the nonprofit Memorial Society and the staff of the local museum, but also various representatives of the local community. It is important not only to grasp what these narratives are about but also the interrelationships between them.
In this article I outline the basic assumptions of the new martyrdom in order to place Solovetsky Islands in this discourse. Next, I move on to analysing the meaning of the Solovetsky crosses created in the monastery’s workshop, to define... more
In this article I outline the basic assumptions of the new martyrdom in order to place Solovetsky Islands in this discourse. Next, I move on to analysing the meaning of the Solovetsky crosses created in the monastery’s workshop, to define their role in the process of commemorating the new martyrs. This two-tier local-solovetsky and universal-orthodox perspective of looking at the Islands seems beneficial, as it lets us understand the ideological assumptions underlying the new martyrdom, as well as the meaning and functions attributed to the signs of memory.
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In this article, I analyse the exhibition of the Blessed Jerzy Popiełuszko Museum in Warsaw to consider what kind of narrative of the life and death of Father Popiełuszko it proposes. In Poland, Father Popiełuszko is perceived as both a... more
In this article, I analyse the exhibition of the Blessed Jerzy Popiełuszko Museum in Warsaw to consider what kind of narrative of the life and death of Father Popiełuszko it proposes. In Poland, Father Popiełuszko is perceived as both a national hero and a Catholic martyr, but how is he cast in a church museum? What kind of message (religious, secular, universal) does the museum attempt to transmit? In this article I am also interested in grasping the perspective of the museum’s founders, who do not conceal their views and religious beliefs, and in describing the meanings they assign to the exhibition. Thus, I consider the museum from a post-secular perspective, and try to establish whether this museum, created in the framework of Christian beliefs, may have an impact on visitors who are non-believers.
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The History of the Twentieth-Century Persecutions against the Russian Orthodox Church as Depicted on the Icon of the New Martyrs and Confessors of the Russian Church The paper analyses the concept of " the new martyrdom " functioning... more
The History of the Twentieth-Century Persecutions against the Russian Orthodox Church as Depicted on the Icon of the New Martyrs and Confessors of the Russian Church The paper analyses the concept of " the new martyrdom " functioning today in the Russian Orthodox Church. Through this prism, presented on the icon of the New Martyrs and Confessors of Russian Church, we examine the official Orthodox perception of the Soviet past, especially the period of persecutions in 1917–1937. Attention is paid to the way the historical facts are shown and to the narrative which is thus created. The authors conclude that the icon and its official description create a glorious vision of history, emphasising the uniqueness of new martyrs' testimony and abolishing questions about the cause of the revolution and the persecutors. The huge number of martyrs becomes evidence of the spiritual greatness of Russia, whereby victims are treated instrumentally, to give a spiritual meaning to the persecutions, perceived as a part of the eternal struggle between good and evil.
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The author looks on Jedwabne and the debate on Polish involvement in the Holocaust from the perspective of the Jedwabians. She shows that until the erection of the national monument to the murdered Jews in Jedwabne in 2001, the... more
The author looks on Jedwabne and the debate on Polish involvement in the Holocaust from the perspective of the Jedwabians. She shows that until the erection of the national monument to the murdered Jews in Jedwabne in 2001, the Jedwabians’ memory of their Jewish neighbors was a part of local memory. Jedwabians commemorated the Jews in accordance with their frames of memory. The point is that the people in Jedwabne are first of all a parish community, so their memory is religious in nature. This has a profound effect on their relationship to the past and their perception of the role of monuments and memorials. By reconstructing the history of the erection of selected monuments in Jedwabne, the author shows which events of the past Jedwabians want to commemorate and what social function is played by memory of the commemorated events. She also considers to what degree memory of the group’s past lies at the base of the Jedwabians’ contemporary identity.
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Analizując wystawy opowiadające o Wielkiej Wojnie Ojczyźnianej w muzeach regionalnych Republiki Komi, autorka zastanawia się nad kształtem pamięci wojny w rosyjskich regionach. Pokazuje, że co prawda pod koniec lat osiemdziesiątych na... more
Analizując wystawy opowiadające o Wielkiej Wojnie Ojczyźnianej w muzeach regionalnych Republiki Komi, autorka zastanawia się nad kształtem pamięci wojny w rosyjskich regionach. Pokazuje, że co prawda pod koniec lat osiemdziesiątych na wystawach historycznych pojawiło się wiele wątków tabuizowanych w okresie sowieckim, to jednak informacje te nie wpłynęły na ogólny przekaz wystaw historycznych, który nadal jest jednoznacznie pozytywny i heroiczny. Starając się objaśnić przyczyny podtrzymywania przez muzea mitu wojny, autorka zwraca uwagę na takie zjawiska jak niedokończenie procesu przepracowania pamięci, politykę historyczną obecnych władz, ale również potrzebę samych mieszkańców, którzy są zainteresowani podtrzymaniem mitu wojny, gdyż jest on jedynym gwarantem zachowania przez nich tożsamości lokalnej.
The late 1980s-mid-1990s reconstruction of the history of Soviet repressions critically influenced the social formation of Gulag memory in Russia. Amongst those re-narrating the past, 'Memorial' Society and the Russian Orthodox Church... more
The late 1980s-mid-1990s reconstruction of the history of Soviet repressions critically influenced the social formation of Gulag memory in Russia. Amongst those re-narrating the past, 'Memorial' Society and the Russian Orthodox Church most actively shaped the collective memory of Soviet repressions, trying to establish multi-layered explanatory constructs of the Gulag. Their interpretations were crystallized through contemporary memorialisation acts in significant landscapes of the past. Focusing on Solovki, Ekaterinburg, Butovo and Magadan and analysing tensions in their memorialisation processes, we discuss secular and Orthodox interpretations of the Gulag, and their impact on the memory of the Soviet repressions in contemporary Russia.
John Burgess’s book both fascinates and disappoints the reader. Through interesting microhistories, the book gives a fresh and unique access to the contemporary Russian Orthodox lived religion. It is even more fascinating as it is written... more
John Burgess’s book both fascinates and disappoints the reader. Through interesting microhistories, the book gives a fresh and unique access to the contemporary Russian Orthodox lived religion. It is even more fascinating as it is written by an American Presbyterian theologian who became fascinated by Orthodox Christianity and its vision of Russia. To such a point that during one Easter morning, he “could glimpse Holy Rus’” (p. 4). However, the way the author understands Holy Rus’ and describes the link between Orthodoxy and the Russian nation leaves the reader with more questions than answers. One may say that my criticism is unfounded because Burgess clearly states at the beginning of the book that his definition of Holy Rus’ is “personal and idiosyncratic” (p. 5). But at the same time the author does not want his book to be perceived as “a journalistic report” and declares that his goal is to show “that the Orthodox Church in Russia today is seeking to re-create … Holy Rus’” (p. 5). Is it really the conclusion that emerges from the book?
Since the beginning of the 1990s the Russian Orthodox Church (ROC) has canonized nearly 2,000 new martyrs and confessors, Orthodox believers who were killed during the Soviet repressions (mostly between 1917 and 1941). Just during the... more
Since the beginning of the 1990s the Russian Orthodox Church (ROC) has canonized nearly 2,000 new martyrs and confessors, Orthodox believers who were killed during the Soviet repressions (mostly between 1917 and 1941). Just during the Great Jubilee of 2000, which commemorated the birth of Christianity, the Russian Orthodox Church canonized more than 1,000 martyrs. This was the biggest canonization process in the history of the ROC. As a consequence, the profile of Russian saints has radically changed. During the first millennium of Russian Christianity (988–1988) the ROC had only 300 national saints, most of whom were primarily monastics, ascetics, or holy prelates. There were almost no martyrs during that time. Mass canonization has changed these numbers radically. At the moment, the majority of Russian saints are the new martyrs of the twentieth century. Karin Hyldal Christensen’s book is the first comprehensive attempt to explain this new phenomenon within the ROC. The Danish researcher has written more than two hundred pages in an attempt to explain: Who are the new martyrs? Why did the ROC canonize them, and what did that process look like? She focuses on explaining how the new martyrs relate to the Orthodox tradition; however, she also tries to describe the contemporary social meaning of new martyrdom.
This compact and engaging study explores how WWII is narrated in postcommunist Europe through detailed examination of three city museums in Russia, Poland and Germany. Drawing on consideration of wider national memory discourses alongside... more
This compact and engaging study explores how WWII is narrated in postcommunist Europe through detailed examination of three city museums in Russia, Poland and Germany. Drawing on consideration of wider national memory discourses alongside careful reading of the displays in the State Museum of the History of St Petersburg, the Historical Museum of Warsaw and the Dresden City Museum, the authors reveal how both wartime enemies and selves are identified and represented in these different settings. By making the representation of the wartime enemy their central question in each case study, the authors are able to identify a number of suggestive commonali-ties and differences in postcommunist national memory cultures. As perhaps might be expected, similar representations of the German invader are found in the city museums in St Petersburg and Warsaw. Both foreground their respective wartime cities as " the scenes of national dramas " (148) and assemble a binary cast of characters within rather monolithic narratives in what the authors dub " temple " museums (5). In the case of St Petersburg, alongside the local story of Lenin-grad citizens fighting hunger, cold, and the threat of bombardment, the museum also exhibits a national narrative of the battle between Soviet heroes and German soldiers who are constructed as an almost subhuman " ferocious Homo ferus " (56). A similar binary can be found in Warsaw where constructing the enemy as " an idea " (95) es-chews complexity and positions the wartime battle between Poles and Germans as one between Good and Evil. As the authors astutely note, 1989–90 does not emerge as the year nulla in display practices in these museums. Rather, they point to striking continuities in Warsaw as well as between the narrative developed of the Leningrad blockade in the 1960s and within the contemporary display. In contrast to these monolithic " temple " museums, the authors signal more complexity in the narratives found in the " forum " museum (5) in Dresden, which is less concerned with " great and tragic national wartime events, " and more with " ordinary people's decisions " within the locale (150). Here the Nazi rise to power with popular support from townspeople in 1933 is positioned as the beginning of an end that reached its climax with the Allied bombing of the city in February 1945. Narrating the history of the 1930s and 1940s this way, the museum suggests that " the real enemy of both the city and the citizens are the citizens themselves " through their support for the Nazi party. Doing this does not position the enemy as external to the nation as is done in St Petersburg and Warsaw, but rather internal and found in " the hostile 'I' " that is seen ultimately lying within all of us (130). Reflecting broader trends in postwar German memory cultures, the treatment of Jews in Dresden is central to the narrative, in contrast to its relative unimportance in Warsaw. In arguing that the museum in Dresden offers a complex and critical approach to WWII, however, the authors also note the counter tendency to draw on and continue narratives of German victimhood. Through placement of the display on the Allied bombing of Dresden outside of and apart from the linear historical narrative, the curators position this as an ahistorical event. Here is an example of the careful reading of museum displays as texts that characterize the volume as a whole. The different elements—photographs, objects, captions, text panels—of display, as well as wider consideration of the spaces and places of museums, are unpacked to good effect. Examples of the productive focus on museum space are particularly striking. In Dresden, the display positions reunification as a return to the former glory of this available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/slr.2017.27 Downloaded from https:/www.cambridge.org/core. IP address: 159.205.236.104, on 09 May 2017 at 13:12:22, subject to the Cambridge Core terms of use,
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