The Changing Face of French History. A Summary of Colloquia Held at the Institute of French Studies, New York University, Fall 1987

1988 ◽  
Vol 9 (1) ◽  
pp. 373-386
Author(s):  
Steve Albert

A REVIEW OF THE FALL 1987 COLLOQUIA SPONSORED BY NEW YORK UNIVERSITY’S INSTITUTE OF FRENCH STUDIES In the past twenty to thirty years, the conception of history in both France and America has changed considerably. The territory covered by the discipline has broadened to encompass elements of various social sciences, such as anthropology and sociology. In the Fall of 1987, four colloquia at New York University’s Institute of French Studies focused on various facets of French history and its study. Louis Bergeron and Jacques Revel both discussed some of the effects of the expansion of the concept of history on their discipline. Tony Judt examined the French Left in the context of European socialist thought after World War II, demonstrating how “historical” analysis is now being applied to periods as recent as 1945-1975. Finally, Charles Tilly described the writing of his latest book, The Contentious French, offering an example of current analytical methods in social history.

2011 ◽  
Vol 55 (4) ◽  
pp. 149-170
Author(s):  
Zuzanna Bogumił

The Author examines the presentation of the German occupation at the Warsaw Rising Museum and in Oskar Schindler’s Enamel Factory in Krakow. Initially, she studies the space of these exhibitions and demonstrates that the Warsaw Rising Museum has some characteristics of reflective space, while the exhibition at the Schindler’s Factory is primarily a projective one. Then, she points out that both museums treat artefacts as illustrations of their stories, as a consequence of which they are simulations of the past rather than material testimonies of what had happened. Finally, the Author argues that the Warsaw Rising Museum primarily tells the story of glory of the Polish nation, while the Schindler Factory focuses on the social history. In conclusion the Author points out that none of the exhibitions breaks the existing taboos or offers a new approach to the past. Both museum stories perfectly reflect the shape of the Polish social memory of World War II. Differences in the way they present the past are a result of rooting each of the stories in different public debates that were conducted in Poland after 1989.


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