Curating the Crimea: The Cultural Afterlife of a Conflict

该项目探讨了克里米亚战争（1854-1856）从战争爆发到现在的代表性。这场冲突的来世甚至在它进行的时候就开始了;新形式的战争通信和前线摄影产生了即时的历史，纪念工业迅速聚集了势头，产生了军事英雄的迷你传记（包括乔治瑞安的《我们的克里米亚英雄的生活》，1855年），以及瓷器和纪念雕像等收藏品。该项目首先详细审查了国家陆军博物馆的大量此类材料，追溯了从战争开始以来对这场战争的不同态度和反应。不结盟运动的档案提供了很大的空间来重新审视这些问题的起源，这些问题已经成为对克里米亚战争的态度的信息;从史学的角度来看，这些态度是从两个对立的立场发展而来的。该项目将研究谴责性和辩护性回应的强大遗产，前者由时报记者威廉霍华德罗素生动地表达，后者由第一位伟大的战争历史学家亚历山大金莱克推动。然后，它将探讨这场战争的来世的一些关键时刻，从1855年维多利亚女王在查塔姆对受伤士兵的大量记录访问开始，通过越来越多的纪念活动和最终对轻旅冲锋的崇拜，参加2004- 2005年广受好评的NAM展览，结束战争爆发160年后。它将评估这一历史时刻的呈现方式如何随着对战争、暴力和国家地位的态度变化而发生变化。“策展”表明，展览在对这一冲突的反应的关键（重新）塑造中所发挥的作用是一个中心焦点。该项目的这一要素借鉴了NAM主管Massie博士的专业知识，Massie博士策划了最近的展览，并在VSC和莱斯特博物馆研究学院之间现有的合作项目上，名为“策展博物馆”。这种关注为克里米亚的研究提供了一个新的维度，通过认识到博物馆和其他文化机构在产生现代冲突概念方面的重要性。“策展”在这里，虽然，也是在一个更宽松的意义上使用，以涵盖广泛的形式，通过它的战争是重新“写”和纪念，包括文本形式（新闻，生活写作和文学），艺术，摄影，电影和统计。关于战争的文学再现的工作借鉴了学术导师Furneaux博士的专业知识，他目前正在研究这场冲突中男性气质的表现。这种真正的跨学科合作既依赖于NAM的档案材料，也依赖于这种主管和机构组合提供的具体专业知识。该项目将借鉴一些学科的现有工作，如Matthew Lalumia，Ulrich Keller，Orlando Figes，Hugh Small和Stefanie Markovits的工作。它将增加一个独特的研究博物馆的背景下，并发展的想法“来世”，或“神话和记忆”处理简短，由Markovits和Figes分别在后记或尾声。与弗诺监督的CDA VSC和查尔斯狄更斯博物馆之间，现在在其完成的一年，该项目旨在为学生提供两个重点领域的调查和空间，以发展自己的智力议程。学生可能希望关注冲突中的一些关键人物，通过时间和不同的制度背景追踪拉格兰勋爵、诺兰上尉和佛罗伦萨南丁格尔的重新呈现。或者，他们可能更喜欢一个结构，重点是冲突的关键神话，轻布里的收费，

This project explores the representation of the Crimean War (1854-1856) from the war's outbreak to the present. The afterlives of this conflict began even while it was ongoing; new forms of war correspondence and front-line photography produced instant history and commemorative industries were quick to gather momentum, producing mini-biographies of military heroes (including George Ryan's 'The Lives of our Heroes of the Crimea', 1855), and collectables such as chinaware and commemorative statues. The project begins with a detailed examination of the National Army Museum's substantial holdings of such materials, tracing the different attitudes and responses to this war from its outset. The NAM's archives offer much scope to re-examine the origins of those issues that have come to inform attitudes to the Crimean War ever since; attitudes which, in historiographical terms, develop from two opposing positions. The project will examine the potent legacies of the condemnatory and justificatory response, the former vividly expressed by The Times' journalist William Howard Russell, the latter promoted by the first great historian of the war, Alexander Kinglake. It will then explore a number of key moments in the afterlife of this war, beginning with Queen Victoria's much recorded visit to the wounded soldiers at Chatham in 1855, proceeding by way of the increasing commemoration and eventual cult of the Charge of the Light Brigade, taking in the acclaimed NAM exhibition of 2004-5, and ending 160 years after the outbreak of the war. It will assess the ways in which the presentation of this historical moment shifts in response to changing attitudes towards war, violence and nationhood. 'Curating' indicates a central focus on the role that exhibitions have played in the critical (re)shaping of responses to this conflict. This element of the project draws on the expertise of NAM supervisor, Dr Massie, who curated the recent exhibition, and upon the existing collaboration between the VSC and the School of Museum Studies at Leicester on a project entitled 'Curating the Victorians'. This focus provides a new dimension to the study of the Crimea, through a recognition of the significance of museums and other cultural institutions in producing modern conceptions of the conflict. 'Curating' here, though, is also used in a much looser sense to encompass a wide range of forms through which the war is re'written' and commemorated, including textual forms (journalism, life writing and literature), art, photography, film and statuary. Work on the literary reimaginaing of the war draws upon the expertise of the academic supervisor, Dr Furneaux, who is currently working on the representation of masculinity in this conflict. This truly interdisciplinary collaboration, then, both depends on the archival materials of NAM and on the specific expertise offered by this combination of supervisors and institutions.The project will draw on existing work in a number of disciplines, such as that by Matthew Lalumia, Ulrich Keller, Orlando Figes, Hugh Small and Stefanie Markovits. It will add a unique study of the museum context, and develop the idea of 'afterlife', or 'myth and memory' treated in brief, by Markovits and Figes respectively, in an afterword or epilogue. As with the CDA supervised by Furneaux between the VSC and the Charles Dickens Museum, now in its completion year, the project is intended to provide the student with both a focused area of investigation and with the space to develop their own intellectual agenda. The student may wish to focus on a number of key personalities from the conflict, tracing the re-presentation of Lord Raglan, Captain Nolan and Florence Nightingale through time and different institutional contexts. Alternatively, they may prefer a structure that focuses on the key mythologies of the conflict, the charge of the light bri