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We have long saved--and curated--objects from wars to commemorate the war experience. These objects appear at national museums and memorials and are often mentioned in war novels and memoirs. Through them we institutionalize narratives and memories of national identity, as well as international power and purpose. While people interpret war in different ways, and there is no ultimate authority on the experiences of any war, curators of war objects make different choices about what to display or write about, none of which are entirely problematic, good, or accurate. This book asks whose vantage points on war are made available, and where, for public consumption; it also questions whose war experiences are not represented, are minimized, or ignored in ways that advantage contemporary militarism. Christine Sylvester looks at four sites of war memory-the National Museum of American History, the Vietnam Veterans Memorial, Arlington National Cemetery, and selected novels and memoirs of the American wars in Vietnam and Iraq-to consider the way war knowledge is embedded in differing sites of memory and display. While the museum shows war aircraft and a laptop computer used by a journalist covering the American war in Iraq, visitors to the Vietnam Memorial or Arlington Cemetery find more prosaic and civilian items on view, such as baby pictures, slices of birthday cake, or even car keys. In addition, memoirs and novels of these wars tend to curate ghastly horrors of wars as experienced by soldiers or civilians. For Sylvester, these sites of war memory and curation provide ways to understand dispersed war authority and interpretation and to consider which sites invite viewers to revere a war and which reflect personal experiences that show the undersides of these wars. Sylvester shows that scholars, policymakers, and other citizens need to consider different types of situated memory and knowledge in order to fully grasp war, rather than idealize it.
We have long saved--and curated--objects from wars to commemorate the war experience. These objects appear at national museums and memorials and are often mentioned in war novels and memoirs. Through them we institutionalize narratives and memories of national identity, as well as international power and purpose. While people interpret war in different ways, and there is no ultimate authority on the experiences of any war, curators of war objects make different choices about what to display or write about, none of which are entirely problematic, good, or accurate. This book asks whose vantage points on war are made available, and where, for public consumption; it also questions whose war experiences are not represented, are minimized, or ignored in ways that advantage contemporary militarism. Christine Sylvester looks at four sites of war memory-the National Museum of American History, the Vietnam Veterans Memorial, Arlington National Cemetery, and selected novels and memoirs of the American wars in Vietnam and Iraq-to consider the way war knowledge is embedded in differing sites of memory and display. While the museum shows war aircraft and a laptop computer used by a journalist covering the American war in Iraq, visitors to the Vietnam Memorial or Arlington Cemetery find more prosaic and civilian items on view, such as baby pictures, slices of birthday cake, or even car keys. In addition, memoirs and novels of these wars tend to curate ghastly horrors of wars as experienced by soldiers or civilians. For Sylvester, these sites of war memory and curation provide ways to understand dispersed war authority and interpretation and to consider which sites invite viewers to revere a war and which reflect personal experiences that show the undersides of these wars. Sylvester shows that scholars, policymakers, and other citizens need to consider different types of situated memory and knowledge in order to fully grasp war, rather than idealize it.
The Vietnam War was one of the most heavily documented conflicts of the twentieth century. Although the events themselves recede further into history every year, the political and cultural changes the war brought about continue to resonate, even as a new generation of Americans grapples with its own divisive conflict. America and the Vietnam War: Re-examining the Culture and History of a Generation reconsiders the social and cultural aspects of the conflict that helped to fundamentally change the nation. With chapters written by subject area specialists, America and the Vietnam War takes on subjects such as women’s role in the war, the music and the films of the time, the Vietnamese perspective, race and the war, and veterans and post-traumatic stress disorder. Features include: chapter summaries timelines discussion questions guides to further reading a companion website with primary source documents and tools (such as music and movie playlists) for both instructors and students. Heavily illustrated and welcoming to students and scholars of this infamous and pivotal time, America and the Vietnam War is a perfect companion to any course on the Vietnam War Era.
More than most post-1970 conflicts involving US forces, the conflict in Iraq has been fought out against a background of frequently invoked memories from the era of the Vietnam War. The essays in this book offer a series of perspectives on connections and parallels between the Vietnam War and the 2003 invasion of, and conflict in, Iraq. The contributors particularly examine the impact of the Vietnam analogy on the War in Iraq, assessing the military tactical lessons learned from the Vietnam War and exploring the influence and persistence of its legacy in US politics, culture and diplomacy. The volume holds up to original interrogation some commonly held assumptions about historical analogy, and several distinguished authorities on the Vietnam War era, in particular, offer their thoughts on the value and applicability of Vietnam-Iraq parallels. If most contributions point out some obvious dissimilarities between the two eras, notably the transformed post-Cold War international environment, the similarities, particularly those relating to the problems of cultural misunderstanding, are also apparent. Vietnam in Iraq will be of great interest for all students and researchers of the Iraq War, strategic studies, international relations and American politics.
U.S. political and military difficulties in Iraq have prompted comparisons to the American war in Vietnam. The authors conclude that the military dimensions of the two conflicts bear little comparison. Among other things,the sheer scale of the Vietnam War in terms of forces committed and losses incurred dwarfs that of the Iraq War. They also conclude; however, that failed U.S. state-building in Vietnam and the impact of declining domestic political support for U.S. war aims in Vietnam are issues pertinent to current U.S. policy in Ira
How do history museums and historic sites tell the richly diverse stories of the American people? What fascinates us most about American history? To help answer these questions, noted public historian Richard Rabinowitz examines the evolution of public history over the last half-century and highlights the new ways we have come to engage with our past. At the heart of this endeavor is what Rabinowitz calls "storyscapes--landscapes of engagement where individuals actively encounter stories of past lives. As storyscapes, museums become processes of narrative interplay rather than moribund storage bins of strange relics. Storyscapes bring to life even the most obscure people--making their skills of hands and minds "touchable," making their voices heard despite their absence from traditional archives, and making the dilemmas and triumphs of their lives accessible to us today. Rabinowitz's wealth of professional experience--creating over 500 history museums, exhibitions, and educational programs across the nation--shapes and informs the narrative. By weaving insights from learning theory, anthropology and geography, politics and finance, collections and preservation policy, and interpretive media, Rabinowitz reveals how the nation's best museums and historic sites allow visitors to confront their sense of time and place, memories of family and community, and definitions of self and the world while expanding their idea of where they stand in the flow of history.
In a world obsessed with the virtual, tangible things are once again making history. Tangible Things invites readers to look closely at the things around them, ordinary things like the food on their plate and extraordinary things like the transit of planets across the sky. It argues that almost any material thing, when examined closely, can be a link between present and past. The authors of this book pulled an astonishing array of materials out of storage--from a pencil manufactured by Henry David Thoreau to a bracelet made from iridescent beetles--in a wide range of Harvard University collections to mount an innovative exhibition alongside a new general education course. The exhibition challenged the rigid distinctions between history, anthropology, science, and the arts. It showed that object-centered inquiry inevitably leads to a questioning of categories within and beyond history. Tangible Things is both an introduction to the range and scope of Harvard's remarkable collections and an invitation to reassess collections of all sorts, including those that reside in the bottom drawers or attics of people's houses. It interrogates the nineteenth-century categories that still divide art museums from science museums and historical collections from anthropological displays and that assume history is made only from written documents. Although it builds on a larger discussion among specialists, it makes its arguments through case studies, hoping to simultaneously entertain and inspire. The twenty case studies take us from the Galapagos Islands to India and from a third-century Egyptian papyrus fragment to a board game based on the twentieth-century comic strip "Dagwood and Blondie." A companion website catalogs the more than two hundred objects in the original exhibition and suggests ways in which the principles outlined in the book might change the way people understand the tangible things that surround them.
"Here, my previous edition of Viruses, Plagues, & History is updated to reflect both progress and disappointment since that publication. This edition describes newcomers to the range of human infections, specifically, plagues that play important roles in this 21st century. The first is Middle East Respiratory Syndrome (MERS), an infection related to Sudden Acute Respiratory Syndrome (SARS). SARS was the first new-found plague of this century. Zika virus, which is similar to yellow fever virus in being transmitted by mosquitos, is another of the recent scourges. Zika appearing for the first time in the Americas is associated with birth defects and a paralytic condition in adults. Lastly, illness due to hepatitis viruses were observed prominently during the second World War initially associated with blood transfusions and vaccine inoculations. Since then, hepatitis virus infections have afflicted millions of individuals, in some leading to an acute fulminating liver disease or more often to a life-long persistent infection. A subset of those infected has developed liver cancer. However, in a triumph of medical treatments for infectious diseases, pharmaceuticals have been developed whose use virtually eliminates such maladies. For example, Hepatitis C virus infection has been eliminated from almost all (>97%) of its victims. This incredible result was the by-product of basic research in virology as well as cell and molecular biology during which intelligent drugs were designed to block events in the hepatitis virus life-cycle"--
The site of curatorial production has been expanded to include the space of the Internet and the focus of curatorial attention has been extended from the object to dynamic network systems. Part of the 'DATA Browser' series, this book explores the role of the curator in the face of these changes.
Today, nearly any group or nation with violence in its past has constructed or is planning a memorial museum as a mechanism for confronting past trauma, often together with truth commissions, trials, and/or other symbolic or material reparations. Exhibiting Atrocity documents the emergence of the memorial museum as a new cultural form of commemoration, and analyzes its use in efforts to come to terms with past political violence and to promote democracy and human rights. Through a global comparative approach, Amy Sodaro uses in-depth case studies of five exemplary memorial museums that commemorate a range of violent pasts and allow for a chronological and global examination of the trend: the U.S. Holocaust Memorial Museum in Washington, DC; the House of Terror in Budapest, Hungary; the Kigali Genocide Memorial Centre in Rwanda; the Museum of Memory and Human Rights in Santiago, Chile; and the National September 11 Memorial Museum in New York. Together, these case studies illustrate the historical emergence and global spread of the memorial museum and show how this new cultural form of commemoration is intended to be used in contemporary societies around the world.