Curating the Crimea: The Cultural Afterlife of a Conflict

策划克里米亚：冲突的文化来生

• 批准号: AH/I024305/1
• 负责人: Holly Furneaux
• 金额: $ 6.91万
• 依托单位: University of Leicester
• 依托单位国家: 英国
• 项目类别: Training Grant
• 财政年份: 2011
• 资助国家: 英国
• 起止时间: 2011 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FI024305%2F1
• 关键词: Curating; Crimea; Cultural; Afterlife; Conflict

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

该项目探讨了克里米亚战争（1854-1856）从战争爆发到现在的表现形式。这场冲突的来生甚至在它还在进行的时候就已经开始了；新形式的战争通信和前线摄影产生了即时历史，纪念行业迅速聚集势头，生产了军事英雄的迷你传记（包括乔治·瑞安的《克里米亚英雄的生活》，1855年），以及瓷器和纪念雕像等收藏品。该项目首先详细检查了国家军队博物馆大量持有的此类材料，追溯了从一开始对这场战争的不同态度和反应。不结盟运动的档案为重新审视这些问题的起源提供了很大的空间，这些问题从那时起就影响了人们对克里米亚战争的态度；用史学术语来说，从两个对立的立场发展而来的态度。该项目将研究谴责和辩护的有力遗产，前者由时报记者威廉·霍华德·拉塞尔（William Howard Russell）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（Alexander Kinglake）推动。然后，它将探索这场战争之后的一些关键时刻，从维多利亚女王1855年在查塔姆对受伤士兵的大量记录的访问开始，接着是对轻骑兵的不断纪念和最终崇拜，参加2004-5年广受好评的不结盟运动展览，并在战争爆发160年后结束。它将评估这一历史时刻的呈现方式如何随着人们对战争、暴力和建国态度的变化而发生变化。“策展”是对展览在应对这一冲突的关键（重新）塑造中所起作用的核心关注。该项目的这一要素借鉴了NAM主管masise博士的专业知识，他策划了最近的展览，并借鉴了VSC与莱斯特博物馆研究学院在一个名为“策展维多利亚时代”的项目上的现有合作。通过承认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，这种关注为克里米亚的研究提供了一个新的维度。然而，这里的“策展”一词在更宽松的意义上也被用于涵盖广泛的形式，通过这些形式重新“书写”和纪念战争，包括文本形式（新闻，生活写作和文学），艺术，摄影，电影和雕像。对战争的文学重新想象的工作借鉴了学术导师弗诺博士的专业知识，他目前正在研究这场冲突中男性气概的表现。因此，这种真正的跨学科合作既取决于不结盟运动的档案材料，也取决于这种主管和机构的组合所提供的具体专门知识。该项目将借鉴多个学科的现有研究成果，如Matthew Lalumia、Ulrich Keller、Orlando Figes、Hugh Small和Stefanie Markovits。它将增加对博物馆背景的独特研究，并发展“来世”或“神话与记忆”的概念，马科维茨和菲格斯分别在后记或后记中进行了简要的论述。与Furneaux在VSC和查尔斯·狄更斯博物馆之间监督的CDA一样，该项目旨在为学生提供一个重点研究领域，并为他们提供发展自己的智力议程的空间。学生可能希望关注冲突中的一些关键人物，追溯拉格兰勋爵、诺兰上尉和弗洛伦斯·南丁格尔在时间和不同制度背景下的再现。或者，他们可能更喜欢一个结构，专注于冲突的关键神话，光bri的冲锋