Through a variety of disciplinary lenses, this innovative forum, coedited with Victoria Thompson, investigates a particular cultural space and time, namely the emergence of proto–roller coasters known as montagnes russes or “Russian mountains” in Paris in 1817. Peggy Davis, Sun-Young Park, and Christine Haynes depict the early years of the Restoration (1814/1815–1830) as a liminal moment in the emergence of modernity. Although this forum began as a panel at the 2017 Annual Meeting of the Society for French Historical Studies, the authors have extended and improved their pieces significantly. Taken together, they show that as foreigners flocked to Paris and the French adjusted to diminished circumstances in the aftermath of Napoleon’s second defeat, identities were in flux. This forum explores how and why the montagnes russes became such a cultural phenomenon and suggests their role in forging a new French identity in the wake of war and revolution.
What Is Old Is New Again
Conal McCarthy and Sandra H. Dudley
After special issues of Museum Worlds: Advances in Research in 2016 and 2017, Volume 6 (2018) is an open issue. In the last two years, the journal has canvassed issues to do with museum archeology, repatriation, and engaging anthropological legacies, as well as with its annual scan of books, exhibitions, conferences, and other events around the museum world, not just in the Anglophone North Atlantic but also in Africa, Asia, the Americas, and the Pacific.
Venenum, un Monde Empoisonné, Musée des Confluences
The Musée des Confluences in Lyon, France, recently organized a remarkable exhibition: Venenum, un Monde Empoisonné. It ran from April 2017 to April 2018 and was located in one of the museum’s five large temporary exhibition spaces. Venenum did justice to the multidisciplinary and multi-thematic nature of this newly founded museum, bringing together objects otherwise classified separately as natural history, art, ethnography, or history.
Stefan Berger, Anna Cento Bull, Cristian Cercel, Nina Parish, Małgorzata A. Quinkenstein, Eleanor Rowley, Zofia Wóycicka, Jocelyn Dodd, and Sarah Plumb
War Museums and Agonistic Memory
Within the EU-Horizon-2020-funded project Unsettling Remembering and Social Cohesion in Transnational Europe (UNREST),1 one work package (WP4) analyzed the memorial regimes of museums related to the history of World War I and World War II in Europe. An article by Anna Cento Bull and Hans Lauge Hansen (2016) entitled “Agonistic Memory” provided the theoretical framework for the analysis. Drawing on Chantal Mouffe’s work (2005, 2013), the authors distinguish three memorial regimes: antagonistic, cosmopolitan, and agonistic.
Unexpected Encounters: Museums Nurturing Living and Ageing Well
As the world’s population ages, how can museums nurture living and aging well? The conference Unexpected Encounters: Museums Nurturing Living and Ageing Well, organized by the Research Centre for Museums and Galleries (RCMG) from the School of Museum Studies, University of Leicester, set out to interrogate this question, and invited conference delegates to consider how museums unconsciously make assumptions about older people and perpetuate the dominant societal view of aging as a “problem.”
Elizabeth Macknight, Brian Newsome, and Vivian Berghahn
Ism Concepts in Science and Politics
Politics and Power After the 2017 Bundestag Election
Sercan Çınar and Francisca de Haan
Comics, Memory, and Cultural Representations of 17 October 1961
The brutal police repression of the demonstration of 17 October 1961 stands as a stark reminder of the violence of French colonialism. A continuing official reluctance to acknowledge these traumatic events has led individuals and groups to seek alternative routes for recognition. This article explores one of these alternative routes: the comic book, and specifically Octobre Noir, a collaboration between writer Didier Daeninckx and graphic artist Mako. By analyzing the reframing of 17 October 1961 within the comic form, this article argues that Octobre noir offers a site for interrogating the relationship between history and memory. This is achieved by exchanging a cultural narrative of police brutality and Algerian victimization for a narrative of legitimate protest and Algerian political agency. Octobre noir exemplifies the value of the comic book as a vector of memory able to represent the past in ways that enrich historical analysis and inter disciplinary debate.