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Reprint of the original, first published in 1883.
As spaces of knowledge, the national museums and galleries of nineteenth-century Europe played an important role both in the shaping of nation-states and the education of their populations. In this context, such institutions sought to convey the history of the people, for example by displaying pictorial cycles of important scenes from their history, exhibiting objects associated with certain formative events, or arraying period rooms to promote a specific impression of the past. The contributions to this volume examine the purposes and educational strategies of national museums and national galleries via case studies from Denmark, France, Germany, Great Britain, Italy, the Netherlands, Poland, Sweden, and Switzerland.
Since its discovery by German romantics and nationalists, Rothenburg has been an established icon of the German nation and its medieval past. By tracing Rothenburg's historical development as a place of national importance, this book examines the cultural politics of historical preservation and tourism in general. In exploring the shifting practice and importance of tourism in Rothenburg and how this relates to broader debates about German culture and identity, Preservation, Tourism and Nationalism offers an important and original perspective on the changing dynamics of romanticized historical landscapes and how events are used to further national, cultural and political agendas. It also analyses the changing practices of historical preservation, and in particular, how historic preservation in Rothenburg reflects a desire to make it more historic and more German. With important insights into what it means to be German, how Germans relate to the past and how the answers to these questions have changed over time, this richly illustrated and detailed volume offers an important narrative of the rise, evolution and contestation of memory in German culture.
In her study of Oberammergau, the Bavarian village famous for its decennial passion play, Helena Waddy argues against the traditional image of the village as a Nazi stronghold. She uses Oberammergau's unique history to explain why and how genuinely some villagers chose to become Nazis, while others rejected Party membership and defended their Catholic lifestyle. She explores the reasons for which both local Nazis and their opponents fought to protect the village's cherished identity against the Third Reich's many intrusive demands. She also shows that the play mirrored the Gospel-based anti-Semitism endemic to Western culture.
Die Kunstsammlung der Universität Göttingen ist vor allem für ihren Bestand an Niederländischer Kunst des 17. Jahrhunderts bekannt. Dass sie darüber hinaus auch eine Kollektion von Gemälden des 19. Jahrhunderts umfasst, die einige wirkliche Schätze enthält, gleicht einer Neuentdeckung. Diese Kollektion wird hier erstmals in einem eigenen Bestandskatalog vorgestellt. Obwohl es sich um eine eher kleine Sammlung handelt, erweist sich diese doch als erstaunlich repräsentativ, um das Kunstverständnis des 19. Jahrhunderts mit seinen wechselnden Prämissen sowie kunsttheoretischen und künstlerischen Auseinandersetzungen an konkreten Kunstwerken aufzuzeigen. Eine zentrale Rolle spielt dab...