Results found: 2

Search results

Search:
in the keywords: the Warsaw Uprising Museum

Sort By:

Limit search:

Muzeum (nie)pamięci. Koń a Muzeum Powstania Warszawskiego

100%

Lorenc M.

Przegląd Politologiczny

2017

issue 2

205-216

The permanent exhibition at the Warsaw Uprising Museum, which has been on display since 2004 (continuously since 2005) is a text of culture – a construct that is not free from power and politics. The political nature of the Museum does not, however, determine its value, but rather represents a diagnosis of the social reality where culture is a space of ideological confrontation. The view that the Museum is politically entangled in organisational and ideological terms is neither demeaning nor ennobling for a cultural institution. However, it requires that the Museum surrender its claims of neutrality in a situation where, by decision of its creators, it occupies a defined position in the discourse, as illustrated by the omission of the history of animals – victims of war – in the exhibition. Meanwhile, the new humanities provide the new museum (and also the traditional one) with trends that unmask the author of the narrative and demystify the objective nature of that narrative. They allow us not only to identify and explain the reasons why the WUM left out the wartime history of animals, but also to show how and why those issues should be thought about, discussed and presented in a different way.

Prezentowana od 2004 roku (nieprzerwanie od 2005 roku) wystawa stała w Muzeum Powstania Warszawskiego jest tekstem kultury – konstruktem niewolnym od władzy i polityki. Polityczność Muzeum nie przesądza jednak o jego wartości, a jedynie stanowi diagnozę rzeczywistości społecznej,w której kultura jest obszarem konfrontacji ideologicznej. Teza, że Muzeum jest uwikłane politycznie pod względem organizacyjnym i ideologicznym, nie jest deprecjonujące ani nobilitujące dla instytucji kultury. Wymaga jednak od Muzeum rezygnacji z roszczeń do neutralności, w sytuacji w której, decyzją swoich twórców, zajmuje ono w dyskursie określoną pozycję, czego przykładem jest pominięcie na ekspozycji historii zwierząt – ofiar wojny. Tymczasem nowa humanistyka oferuje nowemu muzeum (ale i tradycyjnemu) nurty, które demaskują twórcę narracji i demistyfikują jej obiektywny charakter. Pozwalają one zobaczyć i wyjaśnić powody pominięcia wojennej historii zwierząt w MPW, ale i wskazać, jak można i dlaczego powinno się inaczej o tych kwestiach myśleć, mówić i je pokazywać.

„Oczy szeroko zamknięte” — czyli o tym, co jest , a czego nie widać w nowych polskich muzeach o II wojnie światowej

85%

Lorenc M.

Oblicza Komunikacji

2017

vol. 10

99-115

Museums have always been political institutions. Owing to this engagement, they are not neutral and they should not claim objectivity. Facts and artefacts at an exhibition exemplify the assumed hypotheses. This means that visitors are objects of manipulation. In case of the Warsaw Rising Museum, which was the first narrative museum in Poland, World War II was a trial, which the first victim of the German aggression — the Polish nation en bloc — underwent successfully. Th at was a time of heroes who should be imitated. The decision about the rising was right, even though the capital and its population were annihilated as a result of it. In contrast, in the Museum of World War II in Gdańsk, the war was a tragedy for the whole humanity and a hecatomb of the civilian population, with the presentation of the history of Poland nation as just one of many. If there were heroic deeds, they were individual and exceptional. Heroism was not only combat. Survival was the aim. This means that the first museum is about “men’s adventure”, which is fighting among faithful comrades — it’s a hymn of praise to the valour of the Poles under German occupation. The more innocent the victims, the higher the factor of heroism. By contrast, the other museum is a warning — every war is first of all a failure of humanity. These two interpretations of the events of World War II differ from each other as the target groups of both exhibitions are different. Supporters of the Warsaw Rising Museum do not accept the Museum of World War II and vice versa; they often voice opinions about something they did not have a chance or did not even feel like to see. These institutions are reflections of political disputes which divide Poles into supporters and opponents of certain historical policies which are pursued by making use of museums and in relation to them.

Refine search results

1 Oblicza Komunikacji

1 Przegląd Politologiczny

2 2017

2 Lorenc M.

Search results

Muzeum (nie)pamięci. Koń a Muzeum Powstania Warszawskiego

„Oczy szeroko zamknięte” — czyli o tym, co jest , a czego nie widać w nowych polskich muzeach o II wojnie światowej