This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

    Babar and Celeste turn the Celesteville train station into a museum filled with elephant art inspired by master painters.

    memory. In recent years, the culture wars over the way that slavery is remembered and taught have reached a new crescendo. From the argument about the display of the Confederate flag over the state house in Columbia, South Carolina, to the dispute over Thomas Jefferson's relationship with his slave Sally Hemings and the ongoing debates about reparations, the questions grow ever more urgent and more difficult.Edited by noted historians James Oliver Horton and Lois E. Horton, this collection explores current controversies and offers a bracing analysis of how people remember their past and how the lessons they draw influence American politics and culture today. Bringing together some of the nation's most respected historians, including Ira Berlin, David W. Blight, and Gary B. Nash, this is a major contribution to the unsettling but crucial debate about the significance of slavery and its meaning for racial reconciliation.Contributors: Ira Berlin, University of MarylandDavid W. Blight, Yale UniversityJames Oliver Horton, George Washington UniversityLois E. Horton, George Mason UniversityBruce Levine, University of IllinoisEdward T. Linenthal, University of Wisconsin-OshkoshJoanne Melish, University of KentuckyGary B. Nash, University of California, Los AngelesDwight T. Pitcaithley, New Mexico State UniversityMarie Tyler-McGraw, Washington, D.C.John Michael Vlach, George Washington University

    She saw a queen—one with dynamic self-assurance, regality, beauty, and truth who captured this young girl’s imagination. When a nearby museum-goer snapped a photo of a mesmerized Parker, it became an internet sensation. Inspired by this visit, Parker, and her mother, Jessica Curry, tell the story of a young girl and her family, whose trip to a museum becomes an extraordinary moment, in a moving picture book. Parker Looks Up follows Parker, along with her baby sister and her mother, and her best friend Gia and Gia’s mother, as they walk the halls of a museum, seeing paintings of everyone and everything from George Washington Carver to Frida Kahlo, exotic flowers to graceful ballerinas. Then, Parker walks by Sherald’s portrait of Michelle Obama…and almost passes it. But she stops...and looks up! Parker saw the possibility and promise, the hopes and dreams of herself in this powerful painting of Michelle Obama. An everyday moment became an extraordinary one…that continues to resonate its power, inspiration, and indelible impact. Because, as Jessica Curry said, “anything is possible regardless of race, class, or gender.” **FOREWORD BY ARTIST AMY SHERALD**

    This provocative collection initiates a vital conversation about how archives around the world are constructed, policed, manipulated, and experienced. It challenges the claims to objectivity associated with the traditional archive by telling stories that illuminate its power to shape the narratives that are “found” there.Archive Stories brings together ethnographies of the archival world, most of which are written by historians. Some contributors recount their own experiences. One offers a moving reflection on how the relative wealth and prestige of Western researchers can gain them entry to collections such as Uzbekistan’s newly formed Central State Archive, which severely limits the access of Uzbek researchers. Others explore the genealogies of specific archives, from one of the most influential archival institutions in the modern West, the Archives nationales in Paris, to the significant archives of the Bakunin family in Russia, which were saved largely through the efforts of one family member. Still others explore the impact of current events on the analysis of particular archives. A contributor tells of researching the 1976 Soweto riots in the politically charged atmosphere of the early 1990s, just as apartheid in South Africa was coming to an end. A number of the essays question what counts as an archive—and what counts as history—as they consider oral histories, cyberspace, fiction, and plans for streets and buildings that were never built, for histories that never materialized.Contributors. Tony Ballantyne, Marilyn Booth, Antoinette Burton, Ann Curthoys, Peter Fritzsche, Durba Ghosh, Laura Mayhall, Jennifer S. Milligan, Kathryn J. Oberdeck, Adele Perry, Helena Pohlandt-McCormick, John Randolph, Craig Robertson, Horacio N. Roque Ramírez, Jeff Sahadeo, Reneé Sentilles

    Others keep diaries, plan annual family gatherings, or stitch together patchwork quilts in a tradition learned from grandparents. Each of us has ways of communing with the past, and our reasons for doing so are as varied as our memories. In a sweeping survey, Roy Rosenzweig and David Thelen asked 1,500 Americans about their connection to the past and how it influences their daily lives and hopes for the future. The result is a surprisingly candid series of conversations and reflections on how the past infuses the present with meaning.Rosenzweig and Thelen found that people assemble their experiences into narratives that allow them to make sense of their personal histories, set priorities, project what might happen next, and try to shape the future. By using these narratives to mark change and create continuity, people chart the courses of their lives. A young woman from Ohio speaks of giving birth to her first child, which caused her to reflect upon her parents and the ways that their example would help her to become a good mother. An African American man from Georgia tells how he and his wife were drawn to each other by their shared experiences and lessons learned from growing up in the South in the 1950s. Others reveal how they personalize historical events, as in the case of a Massachusetts woman who traces much of her guarded attitude toward life to witnessing the assassination of John F. Kennedy on television when she was a child.While the past is omnipresent to Americans, "history" as it is usually defined in textbooks leaves many people cold. Rosenzweig and Thelen found that history as taught in school does not inspire a strong connection to the past. And they reveal how race and ethnicity affects how Americans perceive the past: while most white Americans tend to think of it as something personal, African Americans and American Indians are more likely to think in terms of broadly shared experiences--like slavery, the Civil Rights Movement, and the violation of Indian treaties."Rosenzweig and Thelen's conclusions about the ways people use their personal, family, and national stories have profound implications for anyone involved in researching or presenting history, as well as for all those who struggle to engage with the past in a meaningful way.

    Sturken investigates the consumerism that followed from the September 11th attacks; the contentious, ongoing debates about memorials and celebrity-architect designed buildings at Ground Zero; and two outcomes of the bombing of the Alfred P. Murrah Federal Building in Oklahoma City: the Oklahoma City National Memorial and the execution of Timothy McVeigh.Sturken contends that a consumer culture of comfort objects such as World Trade Center snow globes, FDNY teddy bears, and Oklahoma City Memorial t-shirts and branded water, as well as reenactments of traumatic events in memorial and architectural designs, enables a national tendency to see U.S. culture as distant from both history and world politics. A kitsch comfort culture contributes to a “tourist” relationship to history: Americans can feel good about visiting and buying souvenirs at sites of national mourning without having to engage with the economic, social, and political causes of the violent events. While arguing for the importance of remembering tragic losses of life, Sturken is urging attention to a dangerous confluence—of memory, tourism, consumerism, paranoia, security, and kitsch—that promulgates fear to sell safety, offers prepackaged emotion at the expense of critical thought, contains alternative politics, and facilitates public acquiescence in the federal government’s repressive measures at home and its aggressive political and military policies abroad.

    This fascinating work by James E. Young examines Holocaust monuments and museums in Europe, Israel, and America, exploring how every nation remembers the Holocaust according to its own traditions, ideals, and experiences, and how these memorials reflect their place in contemporary aesthetic and architectural discourse. The result is a groundbreaking study of Holocaust memory, public art, and their fusion in contemporary life.Among the issues Young discusses are: how memorials suppress as much as they commemorate; how museums tell as much about their makers as about events; the differences between memorials conceived by victims and by victimizers; and the political uses and abuses of officially cast memory. Young describes, for example, Germany's "counter monuments," one of which was designed to disappear over time, and the Polish memorials that commemorate the whole of Polish destruction through the figure of its murdered Jewish part. He compares European museums and monuments that focus primarily on the internment and killing process with Israeli memorials that include portrayals of Jewish life before and after the destruction. In his concluding chapters, he finds that American Holocaust memorials are guided no less by distinctly American ideals, such as liberty and pluralism.Interweaving graceful prose and arresting photographs, the book is eloquent testimony to the way varied cultures and nations commemorate an era that breeds guilt, shame, pain, and amnesia, but rarely pride. By reinvigorating these memorials with the stories of their origins, Young highlights the ever-changing life of memory over its seemingly frozen face in the landscape.

    The campaign to set up a museum honoring black citizens is nearly 100 years old; building the museum itelf and assembling its incredibly far-reaching collections is a modern story that involves all kinds of people, from educators and activists, to politicians, architects, curators, construction workers, and ordinary Americans who donated cherished belongings to be included in NMAAHC's thematically-organized exhibits. Award-winning author Tonya Bolden has written a fascinating chronicle of how all of these ideas, ambitions, and actual objects came together in one incredible museum. Includes behind-the-scenes photos of literally "how to build a museum" that holds everything from an entire segregated railroad car to a tiny West African amulet worn to ward off slave traders.

    The perfect birthday gift for museum lovers and adventure-seekers alike! Mason couldn't wait to celebrate his birthday with a sleepover at the museum of natural history--his favorite place to visit.Armed with headlamps for the dark hallways, a map, and a list of clues, Mason and his two best friends take off on a scavenger hunt through each hall of the museum. But they aren't just trying to solve the clues. They're scouting for the best place to spend the night.Sleeping next to a T. rex in the Hall of Dinosaurs felt too scary. And sleeping with the monarch butterflies would probably tickle. This decision isn't as easy as Mason thought it would be....Wherever they end up, the museum at night is the best place for a birthday adventure!

    Paul Boyer argues that the major aspects of the long-running debates about nuclear armament and disarmament developed and took shape soon after the bombing of Hiroshima. The book is based on a wide range of sources, including cartoons, opinion polls, radio programs, movies, literature, song lyrics, slang, and interviews with leading opinion-makers of the time. Through these materials, Boyer shows the surprising and profoundly disturbing ways in which the bomb quickly and totally penetrated the fabric of American life, from the chillingly prophetic forecasts of observers like Lewis Mumford to the Hollywood starlet who launched her career as the 'anatomic bomb.' In a new preface, Boyer discusses recent changes in nuclear politics and attitudes toward the nuclear age.

    A study of the events surrounding the Hiroshima bombing focuses on its affects in America, considering the cover-up efforts by the government and linking the bombing to current insensitivities toward violence.

    Full color.

    Wander the galleries of this museum whenever you wish—it’s open 365 days a year!—and discover a collection of curated objects on every page, accompanied by informative text. Each chapter features a different ancient civilization, from the Silla dynasty of Korea to ancient Rome.

    Analyzing cultural practices such as anthropology, travel writing, collecting, and museum displays of tribal art, James Clifford shows authoritative accounts of other ways of life to be contingent fictions, now actively contested in post-colonial contexts. His critique raises questions of global significance: Who has the authority to speak for any group's identity and authenticity? What are the essential elements and boundaries of a culture? How do self and "the other" clash in the encounters of ethnography, travel, and modern interethnic relations?In chapters devoted to the history of anthropology, Clifford discusses the work of Malinowski, Mead, Griaule, L�vi-Strauss, Turner, Geertz, and other influential scholars. He also explores the affinity of ethnography with avant-garde art and writing, recovering a subversive, self-reflexive cultural criticism. The surrealists' encounters with Paris or New York, the work of Georges Bataille and Michel Leiris in the Coll�ge de Sociologie, and the hybrid constructions of recent tribal artists offer provocative ethnographic examples that challenge familiar notions of difference and identity. In an emerging global modernity, the exotic is unexpectedly nearby, the familiar strangely distanced.