Fortsetzung des Krieges mit anderen Mitteln

Thiemeyer, Thomas; Kroener, Bernhard R.; Förster, Stig; Wegner, Bernd; Pfeifer, Axel; Aichner, Ernst; Asmuss, Burkhard; Hadley, Frédérick; Haas, Simone; Taylor, J.R.; Chielens, Piet; Bouillet, M. Christophe; Bertrand, C.; Jordan, Alexander; Walter, Dierk; Niemeyer, Joachim; Pieken, Gorch

doi:10.30965/9783657769193

Cited by 12 publications

(9 citation statements)

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“…It told the story of eight so‐called founding fathers of European integration. Throughout the rest of the exhibition, however, the organizers complemented this form of personalisation with the personification of European integration reflecting a broader shift in history museums towards telling stories of acting or suffering, but of unknown individuals (Thiemeyer, , p. 146). Here, the exhibition told stories about 27 individual citizens, one from each EU Member State at the time – stories that were all related in one way or another to these individuals' own experience of, or contribution to, integration in a larger societal as well as political sense.…”

Section: Longue Durée Narrative With a Focus On Post‐war European Intmentioning

confidence: 99%

Limits of Cultural Engineering: Actors and Narratives in the European Parliament's House of European History Project

Kaiser

2016

J of Common Market Studies

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Concerned about the EU's apparent lack of cultural legitimacy, EU institutions have increasingly engaged in the transnational politics of history to enhance European identity and foster EU legitimacy. The House of European History museum project in Brussels marks a high point in the European Parliament's history politics. Based on document analysis and interviews, an analysis of the project's origins and evolution highlights the narrow limits of cultural engineering from above by EU institutions, however. The constraining dissensus in EU politics has forced the European Parliament to rely entirely on the curators and professional historians to legitimize its museum as one that conforms to prevailing curatorial and historical standards. As a result, the first permanent exhibition differs markedly from the original plan. Its narrative has become East Europeanized and the history of European integration proper has been marginalized.

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Section: Longue Durée Narrative With a Focus On Post‐war European Intmentioning

confidence: 99%

Limits of Cultural Engineering: Actors and Narratives in the European Parliament's House of European History Project

Kaiser

2016

J of Common Market Studies

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“…Brandt 1994). The industrial mass murder of the European Jews that began some twenty years later ultimately made the object as a witness into an imperative for the twentieth century's politics of memory, with the memorials in the former concentration camp buildings becoming the paradigmatic sites for this (Thiemeyer 2010;Williams 2007). The Nazis had carried out the murder of the detainees in their extermination camps in order to extinguish every trace of their existence.…”

Section: Historical Approach: Source Value and 'Affective Value' As Cmentioning

confidence: 99%

Work, specimen, witness: How different perspectives on museum objects alter the way they are perceived and the values attributed to them

Thiemeyer¹

2015

Mus. Soc.

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The generic term ‘museum objects’ suggests that a uniform category is involved. But museums in various disciplines have exhibited objects according to quite different rules and have assigned values to them that depend on the standards of the field of inquiry concerned: aesthetic quality, value as a historical source, as a relic or as a representative item. Over time, various display conventions have become established, which appear to us today to be natural and that assign the objects to specific stimulus values. The aim of this essay is to achieve a better understanding of these exhibition practices and discipline-specific value standards. The study aims to discover why we have become accustomed to using objects in exhibitions in different ways, and it distinguishes between three types of object: work, specimen and witness. The hypothesis here is that each of these follows its own display conventions, forms of perception and standards of value. The present essay aims to situate these three types of object – work, specimen and witness – historically and in this way to articulate the differences in status that exist between them.

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“…In this kind of narrative, the history of great men is supplemented or even supplanted by the history of ordinary men, women and children and their historical experiences. In a study of museums devoted to the two world wars, Thomas Thiemeyer (2010) has recently observed the same phenomenon. He has characterized this trend as a shift from the 'Personalisierung' of history -in the form of the great men -to a 'Personifizierung' of history -in the form of stories of acting or suffering individuals who are unknown (Bergmann 1997;Thiemeyer 2010: 146).…”

Section: Museum Visitors: Transnational Narratives Of Diversitymentioning

confidence: 67%

From Great Men to Ordinary Citizens? The Biographical Approach to Narrating European Integration in Museums

Kaiser

2011

Cult. Unbound

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The history of European integration is not easy to tell – in books or, for that matter, in museums. Most importantly, it appears to lack drama. This lack of drama creates a dilemma for museum practitioners who wish to tell stories about the contemporary history of Europe as shared history. In these circumstances, one prominent way of telling stories about European integration history in museums, and the focus of this article, is the biographical approach. Drawing upon research in all of the museums mentioned in this article and many more, and some 60 interviews with museum practitioners from across Europe, this article first discusses three biographical approaches to narrating European integration history in museums. It proceeds to draw out general conclusions about the prospects of mainstreaming European integration in history museums, and about the particular opportunities and pitfalls of the biographical approach and its different varieties

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Fortsetzung des Krieges mit anderen Mitteln

Cited by 12 publications

References 0 publications

Limits of Cultural Engineering: Actors and Narratives in the European Parliament's House of European History Project

Limits of Cultural Engineering: Actors and Narratives in the European Parliament's House of European History Project

Work, specimen, witness: How different perspectives on museum objects alter the way they are perceived and the values attributed to them

From Great Men to Ordinary Citizens? The Biographical Approach to Narrating European Integration in Museums

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