Curating the Crimea: The Cultural Afterlife of a Conflict

策划克里米亚：冲突的文化来生

• 批准号: AH/I024305/1
• 负责人: Holly Furneaux
• 金额: $ 6.91万
• 依托单位: University of Leicester
• 依托单位国家: 英国
• 项目类别: Training Grant
• 财政年份: 2011
• 资助国家: 英国
• 起止时间: 2011 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FI024305%2F1
• 关键词: Curating; Crimea; Cultural; Afterlife; Conflict

This project explores the representation of the Crimean War (1854-1856) from the war's outbreak to the present. The afterlives of this conflict began even while it was ongoing; new forms of war correspondence and front-line photography produced instant history and commemorative industries were quick to gather momentum, producing mini-biographies of military heroes (including George Ryan's 'The Lives of our Heroes of the Crimea', 1855), and collectables such as chinaware and commemorative statues. The project begins with a detailed examination of the National Army Museum's substantial holdings of such materials, tracing the different attitudes and responses to this war from its outset. The NAM's archives offer much scope to re-examine the origins of those issues that have come to inform attitudes to the Crimean War ever since; attitudes which, in historiographical terms, develop from two opposing positions. The project will examine the potent legacies of the condemnatory and justificatory response, the former vividly expressed by The Times' journalist William Howard Russell, the latter promoted by the first great historian of the war, Alexander Kinglake. It will then explore a number of key moments in the afterlife of this war, beginning with Queen Victoria's much recorded visit to the wounded soldiers at Chatham in 1855, proceeding by way of the increasing commemoration and eventual cult of the Charge of the Light Brigade, taking in the acclaimed NAM exhibition of 2004-5, and ending 160 years after the outbreak of the war. It will assess the ways in which the presentation of this historical moment shifts in response to changing attitudes towards war, violence and nationhood. 'Curating' indicates a central focus on the role that exhibitions have played in the critical (re)shaping of responses to this conflict. This element of the project draws on the expertise of NAM supervisor, Dr Massie, who curated the recent exhibition, and upon the existing collaboration between the VSC and the School of Museum Studies at Leicester on a project entitled 'Curating the Victorians'. This focus provides a new dimension to the study of the Crimea, through a recognition of the significance of museums and other cultural institutions in producing modern conceptions of the conflict. 'Curating' here, though, is also used in a much looser sense to encompass a wide range of forms through which the war is re'written' and commemorated, including textual forms (journalism, life writing and literature), art, photography, film and statuary. Work on the literary reimaginaing of the war draws upon the expertise of the academic supervisor, Dr Furneaux, who is currently working on the representation of masculinity in this conflict. This truly interdisciplinary collaboration, then, both depends on the archival materials of NAM and on the specific expertise offered by this combination of supervisors and institutions.The project will draw on existing work in a number of disciplines, such as that by Matthew Lalumia, Ulrich Keller, Orlando Figes, Hugh Small and Stefanie Markovits. It will add a unique study of the museum context, and develop the idea of 'afterlife', or 'myth and memory' treated in brief, by Markovits and Figes respectively, in an afterword or epilogue. As with the CDA supervised by Furneaux between the VSC and the Charles Dickens Museum, now in its completion year, the project is intended to provide the student with both a focused area of investigation and with the space to develop their own intellectual agenda. The student may wish to focus on a number of key personalities from the conflict, tracing the re-presentation of Lord Raglan, Captain Nolan and Florence Nightingale through time and different institutional contexts. Alternatively, they may prefer a structure that focuses on the key mythologies of the conflict, the charge of the light bri

该项目探讨了从战争爆发到现在的克里米亚战争（1854-1856）的代表。这场冲突的来历也始于发生。战争信件的新形式和前线摄影产生了即时的历史和纪念行业，很快就会收集动力，制作了军事英雄的迷你 - 包括乔治·瑞安（George Ryan）的《克里米亚英雄的生活》，1855年），以及等收藏品作为chinaware和纪念雕像。该项目始于对国民陆军博物馆对此类材料的大量持有的详细检查，从一开始就追踪了对这场战争的不同态度和回应。 NAM的档案提供了很多范围，以重新审视这些问题的起源，这些问题从那以后一直告知对克里米亚战争的态度；从史学的角度来看，态度是从两个相反的立场发展而来的。该项目将审查《泰晤士报》记者威廉·霍华德·罗素（William Howard Russell）生动地表达的谴责和正当反应的有力遗产，后者由战争的第一任伟大历史学家亚历山大·金莱克（Alexander Kinglake）提倡。然后，它将探索这场战争来世的许多关键时刻，从1855年维多利亚女王对查塔姆的受伤士兵进行了众多访问开始，以日益增加的纪念和最终崇拜轻旅的指控来进行。参加了2004 - 5年的著名NAM展览，并在战争爆发后的160年结束。它将评估这一历史时刻的呈现方式因对战争，暴力和国家的态度的改变而改变的方式。 “策划”表明展览在对这场冲突的反应的批判性（重新）塑造中所扮演的角色的核心重点。该项目的这一要素取决于NAM主管Massie博士的专业知识，他策划了最近的展览，以及VSC与莱斯特博物馆研究之间的现有合作，该项目题为“策划维多利亚时代的人”。通过认识到博物馆和其他文化机构在产生现代冲突概念中的意义，这一重点为克里米亚的研究提供了新的方面。不过，这里的“策划”也以一种更宽松的意义使用，以涵盖广泛的形式，通过这些形式重新编写”和纪念，包括文本形式（新闻，生活写作和文学），艺术，摄影，摄影，，，电影和雕像。关于战争的文学作品的工作借鉴了学术主管Furneaux博士的专业知识，后者目前正在这场冲突中代表男性气质。因此，这种真正的跨学科合作都取决于NAM的档案材料以及这种主管和机构组合提供的具体专业知识。该项目将利用许多学科中的现有工作，例如Matthew Lalumia，Ulrich，Ulrich，Ulrich，凯勒（Keller），奥兰多·菲格斯（Orlando Figes），休·斯莫特（Hugh Small）和斯特凡尼·马尔科维（Stefanie Markovits）。它将为博物馆的环境增加一个独特的研究，并在后词或结语中分别通过Markovits和Figes进行简要处理的“来世”或“神话和记忆”的思想。就像VSC和查尔斯·狄更斯博物馆（Charles Dickens Museum）在完成年度的CDA一样，该项目旨在为学生提供一个重点的调查领域，并提供制定自己的知识议程的空间。该学生可能希望专注于冲突中的许多关键人物，以追溯拉格兰勋爵，上尉诺兰上尉和佛罗伦萨夜莺在时间和不同的机构背景下的重新表达。另外，他们可能更喜欢一种关注冲突神话的结构