The Cold War in European museums - filling the 'empty battlefield'
The Cold War in European museums - filling the 'empty battlefield'
复制标题
欧洲博物馆中的冷战——填补“空旷的战场”
DOI：
10.1080/13527258.2021.1954054
复制
发表时间：
2021
影响因子：
1.8
通讯作者：
Alberti S
中科院分区：
文献类型：
--
作者：
Alberti S
最近的历史研究将冷战分析为一场“想象中的战争”，这种解读对在博物馆展示这场冲突提出了特殊的挑战。与展览中对第一次和第二次世界大战的成熟表现形成对比的是，我们发现，欧洲和北大西洋冷战的性质使得讲述受害者、英雄主义和军事英勇的故事变得困难。此外，冷战的记忆和遗产往往被呈现为单一的，缺乏具体的年表，增加了通过物体讲述故事的难度。本文探讨了英国和德国精选的博物馆和展览如何应对这一双重挑战。我们考察了冲突是如何被描绘的，建筑、图像、文本和文物如何在选定的博物馆和展览中相互作用，以及它们如何产生特定的解释。我们展示了这些不同和支离破碎的解释：每个博物馆选择了不同的方式来上演冷战。从他们的比较中，在遗产研究的背景下，我们提出了一种独特的冷战博物馆学。我们主张采取一种反思性的方法，鼓励具有不同物质文化的博物馆和文物专业人员参与进来，填补“空白战场”。
Recent historical research has analysed the Cold War as an ‘imaginary war’, an interpretation that poses specific challenges for displaying the conflict in museums. In contrast to well-established representations of the First and Second World Wars in exhibitions, we find that the nature of the Cold War in Europe and the North Atlantic has made it difficult to tell stories of victimhood, heroism and military valour. Moreover, the memory and heritage of the Cold War have often been presented as monolithic and lacking specific chronologies, adding to the difficulty of telling stories through objects. This article explores how selected museums and exhibitions in the UK and Germany have addressed this double challenge. We examine how the conflict is portrayed, how buildings, images, text and artefacts interact in selected museums and exhibitions, and how they generate specific interpretations. We show these interpretations to be diverse and fractured: each museum chose different paths to staging the Cold War. From their comparison, in the context of heritage studies, we make the case for a distinct museology of the Cold War. We argue for a reflective approach that encourages the engagement of museum and heritage professionals with diverse material culture, filling the ‘empty battlefield’.