Pub Date : 2019-11-15DOI: 10.57225/martor.2019.24.01
Corina Iosif, B. Iancu
The text presents the idea for this issue of the Journal, that sprang from the feeling of unease that is already a recurrent feature of the relationship between individual and archive, a feeling complained of by researchers in Eastern Europe working with various kinds of archives both in existence and in the process of being established. This feeling of unease is in the first place methodological in nature and linked to the defining of archived documents and to their political significance, but ultimately has to do with the meaning the documents yield when interrogated. There is, however, also an unease that stems from the diversity of the practices associated with archives and archiving, practices connected with access to memory; in Eastern Europe, this access is still the object of very strong indirect political interest.
{"title":"Introduction. Inside and Outside the Archive: the Uses of Archives and Archival Practice","authors":"Corina Iosif, B. Iancu","doi":"10.57225/martor.2019.24.01","DOIUrl":"https://doi.org/10.57225/martor.2019.24.01","url":null,"abstract":"The text presents the idea for this issue of the Journal, that sprang from the feeling of unease that is already a recurrent feature of the relationship between individual and archive, a feeling complained of by researchers in Eastern Europe working with various kinds of archives both in existence and in the process of being established. This feeling of unease is in the first place methodological in nature and linked to the defining of archived documents and to their political significance, but ultimately has to do with the meaning the documents yield when interrogated. There is, however, also an unease that stems from the diversity of the practices associated with archives and archiving, practices connected with access to memory; in Eastern Europe, this access is still the object of very strong indirect political interest.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127770005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-15DOI: 10.57225/martor.2019.24.04
A. Iorga
"Archives are not all the time talking about themselves—as if a self might be forced on them until their disappearance. Why are we so much into archives, museums, collections, and accumulation? What is the purpose of individual and public archives? How are they imagined, built and used? What are the ends of archives and museums in an era of breaking off with the past? The paper aims to discuss some possible answers to these questions. It scrutinizes the ways in which archives are storage places and knowledge producers, as well as the manners in which they are and can be instrumentalized. It will examine the meanings of archives and museums in post-colonial, neo-colonial and national environments."
{"title":"Archives as Ruins: Means of Understanding the Future in an Era of Wrecks","authors":"A. Iorga","doi":"10.57225/martor.2019.24.04","DOIUrl":"https://doi.org/10.57225/martor.2019.24.04","url":null,"abstract":"\"Archives are not all the time talking about themselves—as if a self might be forced on them until their disappearance. Why are we so much into archives, museums, collections, and accumulation? What is the purpose of individual and public archives? How are they imagined, built and used? What are the ends of archives and museums in an era of breaking off with the past? The paper aims to discuss some possible answers to these questions. It scrutinizes the ways in which archives are storage places and knowledge producers, as well as the manners in which they are and can be instrumentalized. It will examine the meanings of archives and museums in post-colonial, neo-colonial and national environments.\"","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"5 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131246409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-15DOI: 10.57225/martor.2019.24.06
Inis Shkreli
"Constructive identity strategies articulated by cultural elites and cultural policies, starting with the nationalist movement of the nineteenth century, have instrumentalized tradition to communicate local identities within a multicultural world. This is why reactions in favor of the initiation of cultural policies for the collection and preservation of tradition, such as the archives, have increased with the establishment of these valuable nationalist sectors. In this study I focus on the role and dynamics of the ethnomusicology archive at the Institute of Folk Culture in Tirana between two political epochs: communism and postcommunism. I discuss the politics of culture and the importance of the archive under the communist regime as it made the object of special attention from the government. In this context a reciprocal relation was established, between the archive activities and the state funding for the dissemination of Marxism-Leninism, the national-communist ideology. Ultimately, I depict how the Soviet paradigm and the methodology continued also after the fall of communism, and how some young scholars, ethnologists and ethnomusicologists attempt for a paradigm shift (Roth 2014)."
{"title":"Communist Politics of Archives: The Case of the Ethnomusicology Archive at the Institute of Folk Culture in Tirana","authors":"Inis Shkreli","doi":"10.57225/martor.2019.24.06","DOIUrl":"https://doi.org/10.57225/martor.2019.24.06","url":null,"abstract":"\"Constructive identity strategies articulated by cultural elites and cultural policies, starting with the nationalist movement of the nineteenth century, have instrumentalized tradition to communicate local identities within a multicultural world. This is why reactions in favor of the initiation of cultural policies for the collection and preservation of tradition, such as the archives, have increased with the establishment of these valuable nationalist sectors. In this study I focus on the role and dynamics of the ethnomusicology archive at the Institute of Folk Culture in Tirana between two political epochs: communism and postcommunism. I discuss the politics of culture and the importance of the archive under the communist regime as it made the object of special attention from the government. In this context a reciprocal relation was established, between the archive activities and the state funding for the dissemination of Marxism-Leninism, the national-communist ideology. Ultimately, I depict how the Soviet paradigm and the methodology continued also after the fall of communism, and how some young scholars, ethnologists and ethnomusicologists attempt for a paradigm shift (Roth 2014).\"","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116363020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-15DOI: 10.57225/martor.2019.24.02
Mădălina Vârtejanu-Joubert
The article highlights the creation of the Maison Bonfils photographic collection and its transformation into a museum archive by the Harvard Semitic Museum. On the one hand, it examines the archiving of reality through photographic practice and analyses the epistemological premises of documentary photogra¬phy applied to the object “The Holy Land.” On the other hand, it describes the transformation of the Bonfils collection into a corpus and its reception by the scientific community of the Ancient Near East. In both cases, we observe the im¬plementation of a literal conception: on the one hand, the geographical territory is interpreted as the perfect equivalent of the biblical text and, on the other hand, the photographs of this territory are used as an immediate and totally transpar¬ent document of the historical reality of the 19th century.
{"title":"The Beginnings of Photography, the Beginnings of the Photography Archive: Bonfils at the Harvard Semitic Museum","authors":"Mădălina Vârtejanu-Joubert","doi":"10.57225/martor.2019.24.02","DOIUrl":"https://doi.org/10.57225/martor.2019.24.02","url":null,"abstract":"The article highlights the creation of the Maison Bonfils photographic collection and its transformation into a museum archive by the Harvard Semitic Museum. On the one hand, it examines the archiving of reality through photographic practice and analyses the epistemological premises of documentary photogra¬phy applied to the object “The Holy Land.” On the other hand, it describes the transformation of the Bonfils collection into a corpus and its reception by the scientific community of the Ancient Near East. In both cases, we observe the im¬plementation of a literal conception: on the one hand, the geographical territory is interpreted as the perfect equivalent of the biblical text and, on the other hand, the photographs of this territory are used as an immediate and totally transpar¬ent document of the historical reality of the 19th century.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"263 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132752123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-15DOI: 10.57225/martor.2019.24.11
Rucsandra Pop, A. Iorga
In 2016, the Mihai Pop Fonds was established as part of the Image Archive at the Romanian Peasant Museum, and this past year has seen a real effort to organize the documents left behind by the scholar. The Fonds brings together key documents: a rich correspondence with Romanian and foreign research¬ers; Mihai Pop’s field notes from the sociological research campaigns; his PhD thesis, which has yet to be published; documents related to his participation in national and international congresses; his notes for the folklore lectures he gave at the University; and many other documents. The paper aims to present how an interdisciplinary team of ten researchers and artists organized various types of documents from the personal archive of Mi¬hai Pop in order to make it accessible to both specialists interested in the topic and the general public. The paper highlights the contents of the Fonds and focuses on the difficulties involved in organizing a personal archive. The paper will show not only how the Mihai Pop Fonds was shaped in the process, but how the network of people interested in his work has grown and come together in this process, generating new knowledge and new perspectives.
{"title":"Making the Documents Speak—A Creative Exploration of the Mihai Pop Fonds","authors":"Rucsandra Pop, A. Iorga","doi":"10.57225/martor.2019.24.11","DOIUrl":"https://doi.org/10.57225/martor.2019.24.11","url":null,"abstract":"In 2016, the Mihai Pop Fonds was established as part of the Image Archive at the Romanian Peasant Museum, and this past year has seen a real effort to organize the documents left behind by the scholar. The Fonds brings together key documents: a rich correspondence with Romanian and foreign research¬ers; Mihai Pop’s field notes from the sociological research campaigns; his PhD thesis, which has yet to be published; documents related to his participation in national and international congresses; his notes for the folklore lectures he gave at the University; and many other documents. The paper aims to present how an interdisciplinary team of ten researchers and artists organized various types of documents from the personal archive of Mi¬hai Pop in order to make it accessible to both specialists interested in the topic and the general public. The paper highlights the contents of the Fonds and focuses on the difficulties involved in organizing a personal archive. The paper will show not only how the Mihai Pop Fonds was shaped in the process, but how the network of people interested in his work has grown and come together in this process, generating new knowledge and new perspectives.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129966546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-15DOI: 10.57225/martor.2019.24.03
V. Iacob
The article discusses a number of Aurel Bauh prints and negatives from the collections of the Ethnological Archive of the Romanian Peasant Museum. The present study uncovers visual documentation relevant to the history of sociological research in Romania, while also proposing a new periodisation for some of the prints and negatives found in the Ethnological Archive collections. This research is at the core of a visual literacy and digital curation project developed by the Romanian Peasant Museum in 2018 entitled Reţelele Privirii. The project was imagined as a starting point for a program of digitization and publication that will make available to the wider public the entirety of the Ethnological Archive collections in the following years. In this context, the pilot project developed around Bauh’s work is representative not only for the type of artefacts amassed by the museum, but also for the manner in which this cultural heritage was handled throughout this institution’s history. Bauh’s work bridges several research fields that are relevant for recent cultural history in Romania. It also points to a number of instances and contexts that can shed light on the local history of photography. Furthermore, Aurel Bauh’s life and work make him an excellent case study for an artist tackling the ideological fluctuations that characterized the European cultural landscape in the first half of the twentieth century.
{"title":"Looking for Bauh: Negatives and Prints from the Romanian Peasant Museum Image Archive","authors":"V. Iacob","doi":"10.57225/martor.2019.24.03","DOIUrl":"https://doi.org/10.57225/martor.2019.24.03","url":null,"abstract":"The article discusses a number of Aurel Bauh prints and negatives from the collections of the Ethnological Archive of the Romanian Peasant Museum. The present study uncovers visual documentation relevant to the history of sociological research in Romania, while also proposing a new periodisation for some of the prints and negatives found in the Ethnological Archive collections. This research is at the core of a visual literacy and digital curation project developed by the Romanian Peasant Museum in 2018 entitled Reţelele Privirii. The project was imagined as a starting point for a program of digitization and publication that will make available to the wider public the entirety of the Ethnological Archive collections in the following years. In this context, the pilot project developed around Bauh’s work is representative not only for the type of artefacts amassed by the museum, but also for the manner in which this cultural heritage was handled throughout this institution’s history. Bauh’s work bridges several research fields that are relevant for recent cultural history in Romania. It also points to a number of instances and contexts that can shed light on the local history of photography. Furthermore, Aurel Bauh’s life and work make him an excellent case study for an artist tackling the ideological fluctuations that characterized the European cultural landscape in the first half of the twentieth century.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133028083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-15DOI: 10.57225/martor.2019.24.07
Astrid Cambose
"Public use of objects belonging to private memory is what concerned me while writing this article. Under discussion will be the collection of letters received by Romanian couple Lovinescu–Ierunca during their more than sixty-year exile in France (1946-2008) from hundreds of fellow intellectuals confined to Romania by the communist regime. The documents belonged to the couple until their death. “Whose property are my letters?” is a question that may now—once the recipients are dead—be raised by any of their surviving correspondents. (The recipient becomes the rightful owner of all the letters he or she receives; but what if the recipient dies without any legal heirs? Who is entitled to the final and legal decision about the fate of those letters?) The politics of memory—issues most germane to public policy—will therefore be the main focus of the first part of my paper. Next, I shall address the special situation of the letters Monica Lovinescu received from her mother, Ecaterina Bălăcioiu-Lovinescu, a fonds which I managed as follows: recovery, selection, translation into Romanian (given the fact that most of them were written in French in order to evade political censorship), publication by Humanitas Publishing House, followed by the transfer of the physical collection to the Humanitas Aqua Forte Foundation. Editing that private correspondence was an occasion for me to fully experience what Arlette Farge (1989) has called “the allure of the archives.” I shall present this experience in detail in the second part of my study."
{"title":"“Whose Property Are My Letters?” Inside Monica Lovinescu and Virgil Ierunca’s Archive","authors":"Astrid Cambose","doi":"10.57225/martor.2019.24.07","DOIUrl":"https://doi.org/10.57225/martor.2019.24.07","url":null,"abstract":"\"Public use of objects belonging to private memory is what concerned me while writing this article. Under discussion will be the collection of letters received by Romanian couple Lovinescu–Ierunca during their more than sixty-year exile in France (1946-2008) from hundreds of fellow intellectuals confined to Romania by the communist regime. The documents belonged to the couple until their death. “Whose property are my letters?” is a question that may now—once the recipients are dead—be raised by any of their surviving correspondents. (The recipient becomes the rightful owner of all the letters he or she receives; but what if the recipient dies without any legal heirs? Who is entitled to the final and legal decision about the fate of those letters?) The politics of memory—issues most germane to public policy—will therefore be the main focus of the first part of my paper. Next, I shall address the special situation of the letters Monica Lovinescu received from her mother, Ecaterina Bălăcioiu-Lovinescu, a fonds which I managed as follows: recovery, selection, translation into Romanian (given the fact that most of them were written in French in order to evade political censorship), publication by Humanitas Publishing House, followed by the transfer of the physical collection to the Humanitas Aqua Forte Foundation. Editing that private correspondence was an occasion for me to fully experience what Arlette Farge (1989) has called “the allure of the archives.” I shall present this experience in detail in the second part of my study.\"","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128681133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-15DOI: 10.57225/martor.2018.23.05
I. Nicolau
In the context of the major changes that the the Museum of the Romanian Peasant is currently undergoing, we decided to publish an extraordinarily daring article written by Irina Nicolau in 1994, at a time when the “young” MRP she had co-founded together with Horia Bernea was experiencing another era of change and challenges as it made a fresh start after the fall of communism. With the bright reflections of young PhD candidate Dominique Belkis serving as her mirror, as in a dialogue between master and disciple, Irina Nicolau tells her story about the scars left by the communist decades on Eastern European countries and, more specifically, on Romanian culture. Being aware of the necessity to rethink the past in order to stage it in a valid discourse for the present and for the future as well, the ethnologist—who relies on intelligent emotions—speaks of mother-like museums in opposition to father-like ones, of the absent museums of her adolescence and the imaginary bridges she built in order to reach them, of the thirst for knowledge under a rigidly prohibitive political regime. More than twenty years old, Nicolau’s and Belkis’s reflections prove to be as valid and as topical in the present. But what would an antidote museum look like today? And, above all, could the Missionary Museum of the MRP’s early days be a visionary one?
{"title":"The Museums of the World and I. My Museum Experience in an Eastern European Country","authors":"I. Nicolau","doi":"10.57225/martor.2018.23.05","DOIUrl":"https://doi.org/10.57225/martor.2018.23.05","url":null,"abstract":"In the context of the major changes that the the Museum of the Romanian Peasant is currently undergoing, we decided to publish an extraordinarily daring article written by Irina Nicolau in 1994, at a time when the “young” MRP she had co-founded together with Horia Bernea was experiencing another era of change and challenges as it made a fresh start after the fall of communism. With the bright reflections of young PhD candidate Dominique Belkis serving as her mirror, as in a dialogue between master and disciple, Irina Nicolau tells her story about the scars left by the communist decades on Eastern European countries and, more specifically, on Romanian culture. Being aware of the necessity to rethink the past in order to stage it in a valid discourse for the present and for the future as well, the ethnologist—who relies on intelligent emotions—speaks of mother-like museums in opposition to father-like ones, of the absent museums of her adolescence and the imaginary bridges she built in order to reach them, of the thirst for knowledge under a rigidly prohibitive political regime. More than twenty years old, Nicolau’s and Belkis’s reflections prove to be as valid and as topical in the present. But what would an antidote museum look like today? And, above all, could the Missionary Museum of the MRP’s early days be a visionary one?","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125349152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-15DOI: 10.57225/martor.2018.23.10
M. van Gils
In the last decade, several initiatives to build a state-of-the-art Holocaust museum in Rome have been proposed only to subsequently fail to materialize—primarily due to fund cuts. Instead, today, the Museo della Fondazione della Shoah consists of a small, self-sufficient project with very limited display space (one floor), often dependent on travelling collections. The museum’s development and its current status are relevant for memorial discourses in Italy. The memories of Fascism and Italy’s role in the Holocaust sit uneasily in public discourses: from the post-war era, there has been a tendency to defer national responsibility through circulation of the brava gente myth and the focus on Nazi occupiers rather than Italian collaborators and the ideology of fascism that preceded Hitler. While such initiatives as the creation of the Day of Memory have generated a platform for debate, this apologetic attitude has persisted in public circles, leading to a divided memory scape. As a material and symbolic entity, the Museo makes a conscious attempt to intervene in this divided memory. In this paper, I will engage with two of the Museo’s past exhibitions to analyse its discursive framing of Italy’s role in the Holocaust, incorporating a multi-scalar analysis and drawing on the concept of “cosmopolitan memory.” I will argue that the Museo is a local site of memory that establishes a dialogue with transnational memorial discourses. This is reflected in both the Museo’s contents as well as its setup: due to its small size, the Museo is often dependent on travelling collections. In its exhibitions, the Museo provides interrelational descriptions of the socio-political climate in the 1930s and focuses on multiple ethnic and national groups. However, it does not reflect on individual perpetrators, which would further aid its desired—and necessary—pedagogical function of contextualising its historical subject matter from the framing of the present.
{"title":"Material Remembrance in Contentious Spaces: Framing Multi-Scalar Memories and National Culpability in the Museo della Fondazione della Shoah","authors":"M. van Gils","doi":"10.57225/martor.2018.23.10","DOIUrl":"https://doi.org/10.57225/martor.2018.23.10","url":null,"abstract":"In the last decade, several initiatives to build a state-of-the-art Holocaust museum in Rome have been proposed only to subsequently fail to materialize—primarily due to fund cuts. Instead, today, the Museo della Fondazione della Shoah consists of a small, self-sufficient project with very limited display space (one floor), often dependent on travelling collections. The museum’s development and its current status are relevant for memorial discourses in Italy. The memories of Fascism and Italy’s role in the Holocaust sit uneasily in public discourses: from the post-war era, there has been a tendency to defer national responsibility through circulation of the brava gente myth and the focus on Nazi occupiers rather than Italian collaborators and the ideology of fascism that preceded Hitler. While such initiatives as the creation of the Day of Memory have generated a platform for debate, this apologetic attitude has persisted in public circles, leading to a divided memory scape. As a material and symbolic entity, the Museo makes a conscious attempt to intervene in this divided memory. In this paper, I will engage with two of the Museo’s past exhibitions to analyse its discursive framing of Italy’s role in the Holocaust, incorporating a multi-scalar analysis and drawing on the concept of “cosmopolitan memory.” I will argue that the Museo is a local site of memory that establishes a dialogue with transnational memorial discourses. This is reflected in both the Museo’s contents as well as its setup: due to its small size, the Museo is often dependent on travelling collections. In its exhibitions, the Museo provides interrelational descriptions of the socio-political climate in the 1930s and focuses on multiple ethnic and national groups. However, it does not reflect on individual perpetrators, which would further aid its desired—and necessary—pedagogical function of contextualising its historical subject matter from the framing of the present.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114119600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-15DOI: 10.57225/martor.2018.23.07
Cheryl Klimaszeweski
Personal museums created by enthusiastic individual makers are becoming more visible on the cultural landscape. Recent scholarship studying examples of this emergent institutional form in Colombia, Estonia, Finland, Romania and Spain refer to these museums using a variety of terms, including: amateur, author, do-it-yourself, family, grassroots, local, naïve, personal, unofficial, vernacular and wild. Having studied this phenomenon since 2011, one challenging problem for me as a researcher has been: what do we call this kind of museum? Adding to the list of descriptors emergent museums, I employ Greg Lakoff and Mark Johnson’s (2003) work on metaphor theory to present an analysis of how these terms reflect different aspects of this phenomenon. Understood as knowledge institutions, these experimental spaces fosters ways of knowing that contrast with more traditional museum epistemologies, foregrounding knowledge-from-within; knowledge-making; and the individual-as-locus-of-knowledge. I share my experience visiting Cleo’s Ferry Museum and Nature Trail, a self-made, self-described museum in Melba, Idaho as a comparative analysis that connects notable experiential moments (captured in photographs) I have had in Romanian emergent museums to notable moments at Cleo’s. Connecting patterns of experiences across these spaces using personal examples illustrates the different ways of knowing emergent museums foster. In conclusion, I consider emergent museums as a new model of museum-making that are not simply anomalies or novelties; they provide an example of what all museums could be.
{"title":"Towards a Typology of an Emergent Museum Form","authors":"Cheryl Klimaszeweski","doi":"10.57225/martor.2018.23.07","DOIUrl":"https://doi.org/10.57225/martor.2018.23.07","url":null,"abstract":"Personal museums created by enthusiastic individual makers are becoming more visible on the cultural landscape. Recent scholarship studying examples of this emergent institutional form in Colombia, Estonia, Finland, Romania and Spain refer to these museums using a variety of terms, including: amateur, author, do-it-yourself, family, grassroots, local, naïve, personal, unofficial, vernacular and wild. Having studied this phenomenon since 2011, one challenging problem for me as a researcher has been: what do we call this kind of museum? Adding to the list of descriptors emergent museums, I employ Greg Lakoff and Mark Johnson’s (2003) work on metaphor theory to present an analysis of how these terms reflect different aspects of this phenomenon. Understood as knowledge institutions, these experimental spaces fosters ways of knowing that contrast with more traditional museum epistemologies, foregrounding knowledge-from-within; knowledge-making; and the individual-as-locus-of-knowledge. I share my experience visiting Cleo’s Ferry Museum and Nature Trail, a self-made, self-described museum in Melba, Idaho as a comparative analysis that connects notable experiential moments (captured in photographs) I have had in Romanian emergent museums to notable moments at Cleo’s. Connecting patterns of experiences across these spaces using personal examples illustrates the different ways of knowing emergent museums foster. In conclusion, I consider emergent museums as a new model of museum-making that are not simply anomalies or novelties; they provide an example of what all museums could be.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132318324","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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