Dark Visitations: The Possibilities and Problems of Experience and Memory in Holocaust Museums

NOTES

• Jeshajahu Weinberg, The Holocaust Museum in Washington (New York: Rizzoli, 1995) 49.
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• To paraphrase James E. Young's opening line in At Memory's Edge. James E. Young, At Memory's Edge (New Haven and London: Yale UP, 2000) 1.
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• J. John Lennon and Malcolm Foley, “Interpretation of the Unimaginable: The US Holocaust Memorial Museum, Washington, D.C., and ‘Dark Tourism’,” Journal of Travel Research 38 (August 1999): 46–50.
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• Paul Ricoeur, “Memory and Forgetting,” Questioning Ethics: Contemporary Debates in Philosophy, ed. Kearney and Dooley (London: Routledge, 1999) 9.
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• Gaynor Kavanagh, Dreamspaces: Memory and the Museum (London and New York: Leicester UP, 2000) 4.
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• Richard Kearney, “Narrative and The Ethics of Remembrance,” Questioning Ethics 27–8.
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• Edward Linenthal, Preserving Memory: The Struggle to Create America's Holocaust Museum (New York Columbia UP, 1995) 4.
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• Elie Wiesel, Legends of Our Time (New York: Hold, Reinhart and Winston, 1968) 36.
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• Linenthal, Preserving Memory 4.
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• ibid 36.
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• ibid 1–56.
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• ibid 171.
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• Weinberg, The Holocaust Museum in Washington 187.
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• ibid 57.
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• ibid 153.
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• James Ingo Freed, quoted in Weinberg, The Holocaust Museum in Washington 25.
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• ibid.
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• Dipesh Chakrabarty, “Museums in Late Democracies,” Humanities Research 10.1 (2002): 9.
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• Andrea Witcomb, “Interactivity in Museums: The Politics of Narrative Style,” Re-imagining the Museum (London: Routledge, 2003) 143.
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• ibid 7.
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• Shoshana Felman, “Education and Crisis, or the Vicissitudes of Teaching,” Trauma: Explorations of Memory, ed. Cathy Caruth (Baltimore: John Hopkins UP, 1995) 56.
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• ibid 9.
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• Liliane Weissberg, “In Plain Sight,” Visual Culture and the Holocaust, ed. Barbie Zelizer (New Brunswick: Rutgers UP, 2001) 22.
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• Andrew Hoskins, “Signs of the Holocaust: Exhibiting Memory in a Mediated Age,” Media, Culture and Society 25 (2003): 10.
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• Andreas Huyssen, “Monuments and Holocaust Memory in a Media Age,” Twilight Memories: Marking Time in a Culture of Amnesia (New York: Routledge, 1995) 255.
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• http://www.museumoftolerance.com/mot/about/index.cfm, accessed 10:20am, 5/8/2003.
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• Timothy W. Luke, “Memorialising Mass Murder: The United States Holocaust Memorial Museum,” Museum Politics: Power Plays at the Exhibition (Mineapolis: U of Minnesota P, 2002) 53.
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• ibid.
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• ibid 54.
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• Jane Wesley, personal interview, May 16, 2003.
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• James E. Young, The Texture of Memory: Holocaust Memorials and Meaning (New Haven: Yale UP, 1993) 132.
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• David Benedikt, personal interview, May 16, 2003.
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• Marika Weinberger, personal interview, May 16, 2003.
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• Jane Wesley, personal interview, May 16, 2003.
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• Suzanne Bardgett, “The Holocaust Exhibition at the Imperial War Museum,” News of Museums (2000): 3, http://www.iwn.org.uk/lambeth/pdf_files/hol_bardgett.pdf, accessed 12:06pm, 2/9/2003.
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• Hoskins, “Signs of the Holocaust” 13.
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• Walter Benjamin, Illuminations, trans. H. Zohn, (London: Fontana, 1970) 178.
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• ibid 176.
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• Esther Leslie, “Souvenirs and Forgetting: Walter Benjamin's Memory-work,” Material Memories, ed. Marius Kwint, Christopher Breward and Jeremy Aynsley (Oxford and New York: Berg, 1999) 115; Spencer, Lloyd, “Notes to the Translation of Central Park,” New German Review 34 (1985): 57; Howard Eiland and Kevin McLaughlin in Walter Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge Mass.: Belknap, 1999) 838.
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• Benjamin, Illuminations, 160.
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• ibid.
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• ibid.
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• Paul Crowther, “Merleau-Ponty: Perception into Art,” British Journal of Aesthetics 22 (1982): 139.
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• Leslie, “Souvenirs and Forgetting” 117.
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• Ernst van Alphen, “Toys and Affect: Identifying with the Perpetrator in Contemporary Holocaust Art,” Australian and New Zealand Journal of Art 2.2 (April 2002): 185.
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• ibid.
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• ibid.
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• Marcel Proust, Remembrance of Things Past, trans. C. K. Scott Moncrieff (London: Chatto and Windus, 1957).
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• Young, The Texture of Memory 132.
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• For an interesting exploration of ideas concerning space, time, depth and meaning, see Sue L. Cataldi, Emotion, Depth, and Flesh: A Study of Sensitive Space: Reflections on Merleau-Ponty's Philosophy of Embodiment (New York: SUNY P, 1993).
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• Luc Boltanski, Distant Suffering: Morality, Media and Politics, trans. Graham Burchell (Cambridge: Cambridge UP, 1999) 12.
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• John Weiner, personal interview, 16/5/2003.
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• Lennon and Foley, “Interpretation of the Unimaginable” 47.
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• Bardgett, “The Holocaust Exhibition” 5.
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• Linenthal, Preserving Memory xv.
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• Rodney Wilson quoted in Simon Robinson, “Where the Heart Is,” Time (February 16, 1998) (http://www.time.com/time/magazine/1998/int/980216/the_arts.museums.where_tl3.html, accessed 1:12pm, January 28, 2003)
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• Luke, Museum Politics 64.
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• J. John Lennon and Malcolm Foley, “Dark Tourism-An Ethical Dilemma,” Strategic Issues for the Hospitality, Tourism and Leisure Industries, ed. Lennon, Foley and Maxwell (London: Cassell, 1997) 153–64.
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• Lennon and Foley, “Interpretation of the Unimaginable” 46.
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• ibid 49–50.
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• Linenthal, Preserving Memory xiv.
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• Weinberg, The Holocaust Museum in Washington 49.
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• Linenthal, Preserving Memory xiv.
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• van Alphen, “Toys and Affect” 171–7.
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• Boltanski, Distant Suffering 11.
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