Suchergebnisse

Preserved ships and other vessels are associated with a historiography, in Europe at least, which is still marked by parochialism, antiquarianism, and celebratory narrative. Many evidence difficult histories, and they are also extremely expensive to preserve. Yet, they are clearly valued, as nations in Europe invest heavily in them. This survey examines a range of European examples as sites of cultural, political and national identity. An analytical framework foregrounding the role of narrative and story reveals three aspects to these exhibits: explicit stories connected with specific nations, often reinforcing broader, sometimes implicit, national narratives; and a teleological sequence of loss, recovery and preservation, influenced by nationality, but very similar in form across Europe

The collapse of sclerotic and dysfunctional one-party regimes in central and eastern Europe, associated with the end of the USSR, and in parts of the Balkans, with the death of President Tito of Yugoslavia in 1980, was followed by violence and war, which brought the region to the world's attention. These events, and inevitably the historical causes, were and still are interpreted to an international audience, largely through a global media, over which Balkan countries have limited influence. Todorova (Slavic Review 53(2):453-452, 1994, 2009, 1997) identified a trend or convention in these interpretations which was largely negative, which she called 'Balkanism', and which was at least partly constructed 'from the outside' (1994, p. 445). She argued that our knowledge of the Balkans is mediated through a distorting lens: we see it as a dark 'other'. By contrast, national museums funded by national governments would seem to offer a channel through which the states in the region might be able to tell their own stories, in their own way. This survey of national museums attempts to map these stories against specific aspects of Balkanism. Are they complicit in its construction, or do they run counter to or align with it? It is argued that the key elements of these displays counter some aspects of Balkanism but align with it or reinforce it in other ways. Adapted from the source document.

This publication is produced within the three-year research programme EuNaMus – European National Museums: Identity Politics, the Uses of the Past and the European Citizen, coordinated at Tema Q at Linköping University (www.eunamus.eu). EuNaMus explores the creation and power of the heritage created and presented by European national museums to the world, Europe and its states, as an unsurpassable institution in contemporary society. National museums are defined and explored as processes of institutionalized negotiations where material collections and displays make claims and are recognized as articulating and representing national values and realities. Questions asked in the project are why, by whom, when, with what material, with what result and future possibilities are this museums shaped. This Open Access publication presents key findings of research undertaken by the Eunamus consortium in its attempts to understand the 'museology of Europe'. This notion is used here to describe activities which are peculiar to museums and which result from the manner in which museums assemble and deploy objects. This idea can also be used to understand the museological aspects of the city, in which architecture, buildings, monuments, parks, piazzas and boulevards become curated objects. The museological aspect explored here also acts as a counterpoint to the narrative tradition in museums, explored elsewhere in the work of Eunamus. This research investigated the ways in which the city, online museum-like spaces, and national, regional and local museums produce opportunities for connecting identities. A study of national art museums and capital cities, for example, sought to understand how acts of nation making also produced a sense of Europe and of a shared European identity. This aim addressed a central purpose of Eunamus research: to understand how the portrayal of history in national museums could contribute to greater European social cohesion.

Section I: Discourse on Globalization 1. Introduction. - Rasheed O. Olaniyi, Olutayo C. Adesina, and Akanmu G. Adebayo 2. Globalization: The Politics of "We " and "Them ". - Osita Agbu 3. Origin and Dynamics of Globalization: A Historical Approach. - Samuel Oluwole Ogundele 4. Compatriotism vs. Cosmopolitanism: Exploring a New Cosmo-Morality of Human Relations from the Yoruba in the Age of Globalization. - Ronald Olufemi Badru Section II: Globalization and Culture 5. Kiswahili Language and the Future of East African Integration in the Age of Globalization. - Mwanakombo Mohammed Noordin 6. The Kabba Dress: Identity and Modernity in Contemporary Cameroon. - Flavius Mayoa Mokake 7. Beyond Memoir: Echoes of Globalization, Identity, and Gender Struggle in Soyinka's Ake: The Years of Childhood. - Ayo Ogunsiji 8. From the Global to the Local: The Media and Islam in Nigeria, 1979-2007. - H. O. Danmole Section III: Marginality: Africa and the Political Economy of Globalization 9. Globalization and the Privatization of State-Owned Enterprises: An Empirical Analysis of the Impact of Privatization on the Nigerian Economy. - David Omeiza Moveh 10. Contemporary Trade, Investment Practices, and the Challenges of Regionalism and Poverty Alleviation in Africa. - Aloysius-Michaels Okolie 11. Community-Based Organizations: Household Food and Livelihood Security in Southern Nigeria. - Stephen Onakuse and Eamon Lenihan 12. Trade Liberalization and Employment in Nigeria. - Olayinka Idowu Kareem 13. Globalization, Poverty, and the Failure of States in Africa: Is There a Connection?. - Olalekan Emmanuel Obademi Section IV: Crisis: Hot Spots and Contestations 14. A Cross-Regional Analysis of African Conflicts in the Age of Globalization. - Agbo Uchechukwu Johnson 15. Globalization, Identity Politics, and the Escalation of Ife-Modakeke Crisis. - Olajide 0. Akanji 16. The 2001 Tiv-Jukun Ethnic Crisis: The "Indigene-Settler" Factor Reconsidered. - Moses T. Aluaigba 17. Petroleum, the Environment, and the Economics of Nationalism in the Niger Delta. - Sheriff Folarin and Henry Okodua 18. Oil Conflict in the Niger Delta: Revisiting the Odi Genocide. - Andrew Oseloka Sawyer Section V: Conclusion 19. Conclusion. - Olutayo C. Adesina, Akanmu G. Adebayo, and Rasheed O. Olaniyi

This is the summary policy report of the Eunamus project. Drawing together findings from all of the other project reports and conferences, it reflects upon the way histories are constructed and deployed in Europe's national museums. It sets out to address two questions: In what ways do national museums, and the histories they display, contribute to social division and cohesion? How might national museums be a force for greater social cohesion in Europe in the future? The report discusses how national museums perform, interpret and narrate meaningful pasts and how these acts of communication are perceived by visitors and citizens. The report concludes with eight policy implications: National museums need to be autonomous creative institutions National museums need to understand and be open about their performances National museums need to overcome national constraints National museums need to develop and share tools for establishing bridge-building narratives National museums need to review their impact on perceptions of citizenship National museums need to reach new audiences Regional and local museums hold great potential for international bridge building National museums can act as forums for contested issues The three-year research programme, EuNaMus – European National Museums: Identity Politics, the Uses of the Past and the European Citizen, is coordinated at Tema Q at Linköping University (www.eunamus. eu). EuNaMus explores the creation and power of the heritage created and presented at European national museums to the world, Europe and its states, as an unsurpassable institution in contemporary society. National museums are defined and explored as processes of institutionalized negotiations where material collections and displays make claims and are recognized as articulating and representing national values and realities. Questions asked in the project are why, by whom, when, with what material, with what result and future possibilities are these museums shaped.

This is the summary policy report of the Eunamus project. Drawing together findings from all of the other project reports and conferences, it reflects upon the way histories are constructed and deployed in Europe's national museums. It sets out to address two questions: In what ways do national museums, and the histories they display, contribute to social division and cohesion? How might national museums be a force for greater social cohesion in Europe in the future? The report discusses how national museums perform, interpret and narrate meaningful pasts and how these acts of communication are perceived by visitors and citizens. The report concludes with eight policy implications: National museums need to be autonomous creative institutions National museums need to understand and be open about their performances National museums need to overcome national constraints National museums need to develop and share tools for establishing bridge-building narratives National museums need to review their impact on perceptions of citizenship National museums need to reach new audiences Regional and local museums hold great potential for international bridge building National museums can act as forums for contested issues The three-year research programme, EuNaMus – European National Museums: Identity Politics, the Uses of the Past and the European Citizen, is coordinated at Tema Q at Linköping University (www.eunamus. eu). EuNaMus explores the creation and power of the heritage created and presented at European national museums to the world, Europe and its states, as an unsurpassable institution in contemporary society. National museums are defined and explored as processes of institutionalized negotiations where material collections and displays make claims and are recognized as articulating and representing national values and realities. Questions asked in the project are why, by whom, when, with what material, with what result and future possibilities are these museums shaped.