The Representation of Violence in Exhibitions Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge … Mehr…
The Representation of Violence in Exhibitions Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums And if it does, what objectives and means are involved Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights What images of shock or identification does one generate - and what images would be desirable Does War Belong in Museums?: Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums And if it does, what objectives and means are involved Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights What images of shock or identification does one generate - and what images would be desirable War Conflict Exhibition Violence Cultural History Museology Memory Culture, Transcript<
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Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make… Mehr…
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums? And if it does, what objectives and means are involved? Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights? What images of shock or identification does one generate - and what images would be desirable? Wolfgang Muchitsch studied History and English in Graz and Oxford. After graduation, he worked as a university lecturer and project leader in Britain, Northern Ireland and Austria. From 1992 to 1995 he worked for the Department for Planning and Organisation Development of the University of Graz. From 1995 onwards he was responsible for art management in the office of the First Deputy Governor of Styria. He has been the scientific manager of the Universalmuseum Joanneum GmbH since January 2003. The Representation of Violence in Exhibitions eBooks > Fremdsprachige eBooks > Englische eBooks > Sach- & Fachthemen PDF 01.01.2013, Transcript, .201<
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make… Mehr…
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums? And if it does, what objectives and means are involved? Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights? What images of shock or identification does one generate - and what images would be desirable? Wolfgang Muchitsch studied History and English in Graz and Oxford. After graduation, he worked as a university lecturer and project leader in Britain, Northern Ireland and Austria. From 1992 to 1995 he worked for the Department for Planning and Organisation Development of the University of Graz. From 1995 onwards he was responsible for art management in the office of the First Deputy Governor of Styria. He has been the scientific manager of the Universalmuseum Joanneum GmbH since January 2003. The Representation of Violence in Exhibitions eBook eBooks>Fremdsprachige eBooks>Englische eBooks>Sach- & Fachthemen, Transcript<
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make… Mehr…
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums? And if it does, what objectives and means are involved? Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights? What images of shock or identification does one generate - and what images would be desirable?Wolfgang Muchitsch studied History and English in Graz and Oxford. After graduation, he worked as a university lecturer and project leader in Britain, Northern Ireland and Austria. From 1992 to 1995 he worked for the Department for Planning and Organisation Development of the University of Graz. From 1995 onwards he was responsible for art management in the office of the First Deputy Governor of Styria. He has been the scientific manager of the Universalmuseum Joanneum GmbH since January 2003. The Representation of Violence in Exhibitions eBook eBooks>Fremdsprachige eBooks>Englische eBooks>Sach- & Fachthemen, Transcript<
The Representation of Violence in Exhibitions Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge … Mehr…
The Representation of Violence in Exhibitions Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums And if it does, what objectives and means are involved Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights What images of shock or identification does one generate - and what images would be desirable Does War Belong in Museums?: Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums And if it does, what objectives and means are involved Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights What images of shock or identification does one generate - and what images would be desirable War Conflict Exhibition Violence Cultural History Museology Memory Culture, Transcript<
- Ebook, Englisch, Neuware Versandkosten:Ab 20¤ Versandkostenfrei in Deutschland, Sofort lieferbar, DE. (EUR 0.00)
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make… Mehr…
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums? And if it does, what objectives and means are involved? Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights? What images of shock or identification does one generate - and what images would be desirable? Wolfgang Muchitsch studied History and English in Graz and Oxford. After graduation, he worked as a university lecturer and project leader in Britain, Northern Ireland and Austria. From 1992 to 1995 he worked for the Department for Planning and Organisation Development of the University of Graz. From 1995 onwards he was responsible for art management in the office of the First Deputy Governor of Styria. He has been the scientific manager of the Universalmuseum Joanneum GmbH since January 2003. The Representation of Violence in Exhibitions eBooks > Fremdsprachige eBooks > Englische eBooks > Sach- & Fachthemen PDF 01.01.2013, Transcript, .201<
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make… Mehr…
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums? And if it does, what objectives and means are involved? Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights? What images of shock or identification does one generate - and what images would be desirable? Wolfgang Muchitsch studied History and English in Graz and Oxford. After graduation, he worked as a university lecturer and project leader in Britain, Northern Ireland and Austria. From 1992 to 1995 he worked for the Department for Planning and Organisation Development of the University of Graz. From 1995 onwards he was responsible for art management in the office of the First Deputy Governor of Styria. He has been the scientific manager of the Universalmuseum Joanneum GmbH since January 2003. The Representation of Violence in Exhibitions eBook eBooks>Fremdsprachige eBooks>Englische eBooks>Sach- & Fachthemen, Transcript<
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make… Mehr…
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums? And if it does, what objectives and means are involved? Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights? What images of shock or identification does one generate - and what images would be desirable?Wolfgang Muchitsch studied History and English in Graz and Oxford. After graduation, he worked as a university lecturer and project leader in Britain, Northern Ireland and Austria. From 1992 to 1995 he worked for the Department for Planning and Organisation Development of the University of Graz. From 1995 onwards he was responsible for art management in the office of the First Deputy Governor of Styria. He has been the scientific manager of the Universalmuseum Joanneum GmbH since January 2003. The Representation of Violence in Exhibitions eBook eBooks>Fremdsprachige eBooks>Englische eBooks>Sach- & Fachthemen, Transcript<
1Da einige Plattformen keine Versandkonditionen übermitteln und diese vom Lieferland, dem Einkaufspreis, dem Gewicht und der Größe des Artikels, einer möglichen Mitgliedschaft der Plattform, einer direkten Lieferung durch die Plattform oder über einen Drittanbieter (Marketplace), etc. abhängig sein können, ist es möglich, dass die von eurobuch angegebenen Versandkosten nicht mit denen der anbietenden Plattform übereinstimmen.
Detailangaben zum Buch - Does War Belong in Museums?
EAN (ISBN-13): 9783839423066 ISBN (ISBN-10): 3839423066 Erscheinungsjahr: 2014 Herausgeber: transcript
Buch in der Datenbank seit 2014-05-23T20:57:50+02:00 (Berlin) Detailseite zuletzt geändert am 2016-10-14T18:30:39+02:00 (Berlin) ISBN/EAN: 3839423066
ISBN - alternative Schreibweisen: 3-8394-2306-6, 978-3-8394-2306-6 Alternative Schreibweisen und verwandte Suchbegriffe: Autor des Buches: much Titel des Buches: belong only myself, belong together
Daten vom Verlag:
Autor/in: Wolfgang Muchitsch Titel: Edition Museumsakademie Joanneum; Does War Belong in Museums? - The Representation of Violence in Exhibitions Verlag: transcript; transcript 224 Seiten Erscheinungsjahr: 2014-04-11 Bielefeld; DE Gedruckt / Hergestellt in Deutschland. Sprache: Englisch Available 10 SW-Abbildungen, 63 Farbabbildungen
ED; E107; Nonbooks, PBS / Kunst/Allgemeines, Lexika; Museums- und Denkmalkunde; Verstehen; Museum; War; Conflict; Exhibition; Violence; Cultural History; Museology; Memory Culture; Sozial- und Kulturgeschichte; Kulturwissenschaften; Auseinandersetzen; BC
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