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首页> 外文期刊>Journal of Genocide Research >The ‘Jewish narrative’ in the Yad Vashem global Holocaust museum
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The ‘Jewish narrative’ in the Yad Vashem global Holocaust museum

机译:Yad Vashem全球大屠杀博物馆中的“犹太叙事”

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The 2005-inaugurated new historical museum of Yad Vashem in Jerusalem is one of the most significant and influential global Holocaust memorial sites of the twenty-first century. At the same time, it is also a very local Israeli ‘lieu de mémoire’. This essay explores the interactions between these two levels of representation while suggesting a critical analysis of the museum's narrative. I contend that for various cultural and political reasons this museum encourages most of all identification with the Jewish victims. This morally necessary and very much justified empathy is achieved, however, in a way that blocks almost any nuanced historical understanding of the event. Thus by melancholic means the museum suppresses any ‘otherness’ that would make the story of the Shoah more complex, interrupt in the melodramatic processes of identification, and destabilize the identity of the Western (individual and collective) self. “Museums convey a sense of permanence, the idea of ‘collection’, as opposed to separation and loss. In a museum I feel that I belong, though nothing belongs to me… art and literature can be a home for those without citizenship, because they remind us of our common race, and they sop you up, yet simultaneously feed you like a magic sponge. They make you part of what you see and what you hear and yet let you stand back and choose. The various Shoah museums and reconstituted concentration camp sites do the exact opposite. That's why I find them so hard to take: they don't take you in, they spit you out. Moreover, they tell you what you ought to think, as no art or science museum ever does. They impede the critical faculty” (Ruth Kluger)1 Ruth Kluger, Still alive: a Holocaust girlhood remembered (New York: The Feminist Press, 2003 [2001]), p. 198. View all notes View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/14623528.2012.677761
机译:耶路撒冷Yad Vashem博物馆于2005年启用,是一座历史悠久的新历史博物馆,是21世纪全球最重要和最具影响力的大屠杀纪念馆之一。同时,它也是以色列的一个非常当地的“ moumoire”。本文探讨了这两种表现形式之间的相互作用,同时提出了对博物馆叙事的批判性分析。我认为,出于各种文化和政治原因,该博物馆鼓励大多数人认同犹太人的受害者。但是,这种道德上必要且非常合理的同理心可以阻止几乎任何对该事件的细微历史理解。因此,通过忧郁的手段,博物馆压制了任何“其他”的事物,这些事物会使Shoah的故事变得更加复杂,中断身份认同的叙事过程,并破坏西方(个人和集体)自我的身份。 “博物馆传达了一种永久感,即“收集”的观念,而不是一种分离和迷失的观念。在博物馆里,我觉得我属于我,尽管我不属于任何人。对于没有国籍的人来说,艺术和文学可以成为他们的家,因为它们让我们想起了我们的共同种族,他们让您陶醉,但同时却像魔术一样喂饱您海绵。它们使您成为看到的内容和听到的内容的一部分,而又让您退后一步,做出选择。各种Shoah博物馆和改建的集中营遗址恰恰相反。这就是为什么我觉得他们很难接受:他们不接受您,他们吐了您。而且,它们告诉您您应该怎么想,这是艺术博物馆或科学博物馆从未有过的。他们阻碍了批判教师的发展(Ruth Kluger)1露丝·克鲁格(Ruth Kluger)仍然活着:还记得大屠杀的少女时代(纽约:女权主义者出版社,2003 [2001]),第1页。 198.查看所有注释查看全文下载全文相关变量var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,servicescompact:“ citlikelike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”,pubid :“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/14623528.2012.677761

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