The Teodoro Vidal Collection: Creating Space for Latinos at the National Museum of American History

2001 ◽  
Vol 23 (4) ◽  
pp. 113-124 ◽  
Author(s):  
L. Stephen Velasquez

During 1997 and 1998 the Smithsonian Institution, National Museum of American History began a series of programs design to augment the Latino presence at the museum through the acquisition and presentation of a large collection from Puerto Rico, The Vidal Collection. This paper looks at the politics of creating a Latino presence at NMAH through the acquisition and presentation of a large Latino collection. Some of the issues to be explored are: how can a (national) Latino space and identity be created in a museum context, how is it contextualized (or re-contextualized) and represented, and what are the institutional ramifications of such initiatives?

2017 ◽  
Vol 21 (4) ◽  
pp. 97
Author(s):  
A. N. Semchenko ◽  
V. I. Kaleda

<p>Nowadays defibrillation is one of the key methods of human resuscitation. This article provides a brief biography of Professor Claude Beck and the story of the first successful human defibrillation that was performed and described in 1947.</p><p>Received 15 September 2017. Revised 30 November 2017. Accepted 1 December 2017.</p><p><strong>Funding:</strong> The study did not have sponsorship.</p><p><strong>Conflict of interest:</strong> Authors declare no conflict of interest.</p><p><strong>Acknowledgement:</strong> The authors thank Boris B. Gorbunov from the Department of Biomedical Systems, National Research University of Electronic Technology (Moscow, Russia) for the access to original Russian publications of the last century and Kay Peterson from the Division of Medicine &amp; Science, National Museum of American History, Smithsonian Institution (Washington, DC, USA) for provision of illustration.</p>


2004 ◽  
Vol 5 (1) ◽  
pp. 52-72
Author(s):  
Lisa Browar

On February 6, 2002, The Washington Post reported: Throughout the nine months that her idea for an exhibition on American achievement at the Smithsonian Institution had been debated, Catherine B. Reynolds was frustrated with the process. She was angry that her idea of honoring prominent individuals had become a lightening rod for criticism. She was annoyed that some historians thought the Catherine B. Reynolds Foundation’s promised $38 million gift to the National Museum of American History didn’t mean she could help decide how the exhibit would be presented. She was befuddled by the slow and consensus-oriented process of putting together . . .


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