Relevant bibliographies by topics / Hiroshima Peace Memorial Museum

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Hiroshima Peace Memorial Museum'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Hiroshima Peace Memorial Museum"

1

Zwigenberg, Ran. "Modern Relics: The Sanctification of A-Bomb Objects in the Hiroshima Museum." Holocaust and Genocide Studies 35, no. 1 (March 24, 2021): 44–62. http://dx.doi.org/10.1093/hgs/dcab014.

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Abstract In April 2017, a group of mannequins was removed during renovation of the Hiroshima Peace Memorial Museum. The new exhibit instead focuses on objects left by the dead (ihin) as well as survivor testimonies, representing the latest change in a seventy-year controversy regarding museal representations of the devastation wrought by the atomic bomb. Controversies paralleled debates over Holocaust memorialization and the treatment of objects left by victims. The following examines the history of A-bomb objects in the Hiroshima museum, most importantly, the way relics have been discussed, exhibited, and debated. This evolution has elevated relics to the status of sacred objects, central to commemoration and memorialization.
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Giamo, Benedict. "The Myth of the Vanquished: The Hiroshima Peace Memorial Museum." American Quarterly 55, no. 4 (2003): 703–28. http://dx.doi.org/10.1353/aq.2003.0039.

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Higashi, Julie. "The Destruction and Creation of a Cityscape in the Digital Age: Hiroshima Peace Memorial Museum." Museum International 70, no. 1-2 (January 2018): 104–13. http://dx.doi.org/10.1111/muse.12196.

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Chen, Chia-Li. "Representing and interpreting traumatic history: a study of visitor comment books at the Hiroshima Peace Memorial Museum." Museum Management and Curatorship 27, no. 4 (October 2012): 375–92. http://dx.doi.org/10.1080/09647775.2012.720186.

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Samartzis, Dino. "Children’s Peace Monument, Peace Memorial Park, Hiroshima, Japan." Spine 32, no. 18 (August 2007): i. http://dx.doi.org/10.1097/01.brs.0000285900.03305.f1.

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6

MAKI, Rie, and Tomoko NIIHATA. "THE LANDSCAPE DESIGN IN HIROSHIMA PEACE MEMORIAL PARK." Journal of Architecture and Planning (Transactions of AIJ) 83, no. 748 (2018): 1117–25. http://dx.doi.org/10.3130/aija.83.1117.

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7

ISHIMARU, Norioki. "Was Hiroshima reconstructed and developed as Peace City or Peace Memorial City?:." Annals of Japan Association for Urban Sociology 2014, no. 32 (2014): 25–44. http://dx.doi.org/10.5637/jpasurban.2014.25.

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8

Cho, Hyunjung. "Hiroshima Peace Memorial Park and the Making of Japanese Postwar Architecture." Journal of Architectural Education 66, no. 1 (September 28, 2012): 72–83. http://dx.doi.org/10.1080/10464883.2012.720915.

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9

TANAKA, Daisuke, and Shunsuke Ishimitsu. "Study of Noise Reduction using ANC in Hiroshima Peace Memorial Ceremony." Proceedings of the Dynamics & Design Conference 2016 (2016): 321. http://dx.doi.org/10.1299/jsmedmc.2016.321.

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10

Treat, John Whittier. "Hiroshima, Ground Zero." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1883–85. http://dx.doi.org/10.1632/pmla.2009.124.5.1883.

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Hiroshima, October 2008. When I last came here, it was the summer of 1995, fifty years after the end of a war our memory factories had worked so hard to keep alive but were now being told to let go of. It was ten years after Ronald Reagan had declared at Bitburg that we had all been victims in that war. It was five years before a millennium punctuation mark would in fact make the twentieth century and its awful histories a base-10 past. And it was exactly that summer when the Smithsonian would put, with great controversy, the restored B-29 bomber Enola Gay on display in Washington for all to marvel at. In 1995 I had made my way in the intense heat of a Hiroshima summer (which made me imagine the heat of that day, as the Japanese say) to Peace Memorial Park, the beautifully groomed center of the city that all of us, worldwide, thought of as Ground Zero.
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Dissertations / Theses on the topic "Hiroshima Peace Memorial Museum"

1

俊也, 越前, and Toshiya Echizen. "「平和記念」の造営と展示1915-1964 : 広島の陳列館/資料館/公園の50年." Thesis, https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13142996/?lang=0, 2020. https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13142996/?lang=0.

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本論は、広島の平和記念施設の敷地において、原爆ドーム前身の物産陳列館設立（1915）から慰霊碑後方の「平和の灯」設置（1964）まで、一貫して、平和ではなく繁栄を目指す造営と展示がなされてきたことを明らかにした。また、原爆ドームは、慰霊碑がある南からの眺めでは、原爆犠牲者の象徴のように見做されるのに対し、原爆スラムがあった北からの相貌では、被曝後を生きるものとして捉えられていたことを指摘した。以上のことから、現代における記念碑の意味を問い直した。
In this dissertation I revealed that there had been consistently construction and exhibitions aimed at prosperity rather than peace, from the establishment of the product display hall (1915), the predecessor of the Atomic Bomb Dome to the setting up of the "Peace Flame" behind the cenotaph (1964) on the site where the Hiroshima Peace Memorial Facility is located. In addition, it was pointed out that the atomic bomb dome was regarded as a symbol of the victims of the atomic bomb in the view from the south where the cenotaph is located, and the appearance from the north where the atomic bomb slum was made to live after exposure. From the above, the meaning of the monument in the present age was questioned again.
博士(芸術学)
Doctor of Philosophy in Art Theory
同志社大学
Doshisha University
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2

Sá, Cecilia Gomes de. "Setor cultural de Brasília : contradições no centro da cidade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/101894.

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A seguinte pesquisa trata das origens e projetos arquitetônicos do Setor Cultural de Brasília e busca compreender os antagonismos e similitudes existentes entre o Plano Piloto realizado por Lucio Costa e as diversas propostas elaboradas por Oscar Niemeyer e outros arquitetos para o local, algumas das quais construídas e consolidadas. A Esplanada dos Ministérios em Brasília é o ponto mais representativo do urbanismo e arquitetura da cidade e após cinquenta e três anos da inauguração da capital o Setor Cultural é o único trecho da Esplanada ainda não executado plenamente. Essa situação associada ao tombamento do conjunto urbanístico de Brasília em 1991 e à portaria 314/92 que estabelece exclusividade de intervenção aos dois arquitetos autores de Brasília fortalece a preocupação entre arquitetos, cidadãos e Estado em conciliar os propósitos de Costa e Niemeyer. Apesar da referência afirmativa de ambos sobre o modelo progressista na idealização do plano urbanístico e ainda um consenso e maturação dos conceitos e críticas ao urbanismo moderno, associados a uma postura respeitosa dos arquitetos em relação aos precedentes arquitetônicos, há contradições explícitas entre projetos executados de Oscar Niemeyer e o plano-­‐piloto levando até hoje a diversos projetos inconclusos e à polêmicas discussões sobre o Setor. A compreensão do desenvolvimento desse processo resulta da análise crítica dos projetos concebidos confrontados ao Plano Piloto de Lucio Costa e seus precedentes históricos, além da organização do inventário de projetos para o setor.
This research deals with the origins and architectural projects of the Cultural Sector of Brasília and pursues to understand the antagonisms and similarities between the Pilot Plan conducted by Lucio Costa and the various proposals made by the architect Oscar Niemeyer and other architects to the site, many of them built and consolidated. The Esplanade of Ministries in Brasilia is the most representative site of the urbanism and architecture of the city and fifty-­‐three years after the foundation of the capital, the Cultural Sector is the only part of the Esplanade that has not yet completely implemented. This situation associated with the legally protection of the urban site of Brasilia sanctioned in 1991 and the decree number 314/92 establishing exclusivity of architectural intervention to the two authors of Brasilia signs the concern among architects, citizens and government to conciliate the purposes of Costa and Niemeyer. Despite the positive reference of both architects about progressive urbanism model in the idealization of the urban plan of Brasília and even a consensus and maturation of concepts and critiques of modern urbanism, associated with a respectful attitude towards the architectural precedents, there are explicit contradictions between projects executed by Oscar Niemeyer and the pilot plan designed by Lucio Costa that leave until today many unfinished projects and controversial discussions about the sector. The understanding of this process development results in the critical analysis of architectural projects confronted to the Pilot Plan of Lucio Costa and its historical precedents, beyond the inventory organization of the Cultural Sector projects.
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3

Shaw, Vivian Giboung. "Atomic memory : theorizing post-racial memory and trauma in Hiroshima Peace Memorial Museum." 2012. http://hdl.handle.net/2152/19665.

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Hiroshima Peace Memorial Museum, established in 1955, remains the primary site for recuperating and transforming memories of the atomic bombing into a message for global peace. Within the museum’s transcendental politics, American and European visitors are a key presence, evident in the site’s 1994 renovation adding historical context for the bombings, its design as a bilingual space using both Japanese and English, and in its refusal to criticize the United States for their use of the bomb. However, what remains excluded from this global view is a discussion of race, a critical dimension of U.S.-Japanese relations and Pacific Rim colonialism during and after World War II. This thesis utilizes scholarship on cultural memory and cultural trauma to interrogate how the museum has been constructed as a site of post-racial politics. In examining the mechanics of this space, this thesis focuses on the “objects” that the museum describes as “material witnesses,” to interrogate the historical links between Orientalism and cultural trauma. Through a theoretical development of my fieldwork in Hiroshima in 2011, analysis of the space, and relevant literature, I argue that the gaze of Western tourism is fundamental in the construction of Hiroshima as a global, peaceful, and post-racial experience for museum visitors.
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4

俊也, 越前, and Toshiya Echizen. "「平和記念」の造営と展示1915-1964 : 広島の陳列館/資料館/公園の50年." Thesis, 2003. http://id.nii.ac.jp/1707/00001617/.

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本論は、広島の平和記念施設の敷地において、原爆ドーム前身の物産陳列館設立（1915）から慰霊碑後方の「平和の灯」設置（1964）まで、一貫して、平和ではなく繁栄を目指す造営と展示がなされてきたことを明らかにした。また、原爆ドームは、慰霊碑がある南からの眺めでは、原爆犠牲者の象徴のように見做されるのに対し、原爆スラムがあった北からの相貌では、被曝後を生きるものとして捉えられていたことを指摘した。以上のことから、現代における記念碑の意味を問い直した。
In this dissertation I revealed that there had been consistently construction and exhibitions aimed at prosperity rather than peace, from the establishment of the product display hall (1915), the predecessor of the Atomic Bomb Dome to the setting up of the "Peace Flame" behind the cenotaph (1964) on the site where the Hiroshima Peace Memorial Facility is located. In addition, it was pointed out that the atomic bomb dome was regarded as a symbol of the victims of the atomic bomb in the view from the south where the cenotaph is located, and the appearance from the north where the atomic bomb slum was made to live after exposure. From the above, the meaning of the monument in the present age was questioned again.
博士(芸術学)
Doctor of Philosophy in Art Theory
同志社大学
Doshisha University
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Books on the topic "Hiroshima Peace Memorial Museum"

1

Hiroshima kara tou: Heiwa Kinen Shiryōkan no "taiwa nōto" = What Hiroshima asks of us : from "Dialogue notebooks" of Hiroshima Peace Memorial Museum. Kyōto: Kamogawa Shuppan, 2005.

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2

United States. Congress. House. Committee on Veterans' Affairs., ed. Memorial of the Battle of Normandy: A museum of peace : report on the dedication. Washington: U.S. G.P.O., 1988.

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United States. Congress. House. Committee on Veterans' Affairs., ed. Memorial of the Battle of Normandy: A museum of peace : report on the dedication. Washington: U.S. G.P.O., 1988.

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United States. Congress. House. Committee on Veterans' Affairs., ed. Memorial of the Battle of Normandy: A museum of peace : report on the dedication. Washington: U.S. G.P.O., 1988.

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5

Longair, Sarah. Cracks in the Dome: Fractured Histories of Empire in the Zanzibar Museum 1897-1964. Taylor & Francis Group, 2020.

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6

Cracks in the Dome: Fractured Histories of Empire in the Zanzibar Museum, 1897-1964. Taylor & Francis Group, 2015.

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7

Hasian Jr., Marouf A., and Nicholas S. Paliewicz. Racial Terrorism. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831743.001.0001.

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This book provides readers with a critical rhetorical study of Montgomery, Alabama’s Legacy Museum and National Memorial for Peace and Justice. Using critical genealogical methods, the authors argue that the Equal Justice Initiative (EJI), led by Bryan Stevenson, uses these particular sites of memory for a variety of rhetorical functions, including the recovery of forgotten lynching pasts as well as reparatory efforts. The book takes the stance that Stevenson and the EJI are not only interested in helping American communities remember lynching histories but are also interested in using lynching legacies for modern-day mass incarceration reformation. Using the concept of “racial terrorism” the EJI uses places like the Legacy Museum to try and convince American audiences who may not have confronted fraught lynching pasts that they need to acknowledge these pasts if they hope to ever become involved in true reconciliation with those who suffer from the ravages of genocidal histories and traumatizing pasts.
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Book chapters on the topic "Hiroshima Peace Memorial Museum"

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"9. The Hiroshima Peace Memorial Museum And Its Exhibition." In The Power of Memory in Modern Japan, 155–70. Global Oriental, 2008. http://dx.doi.org/10.1163/ej.9781905246380.i-382.74.

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Hasian, Marouf A., and Nicholas S. Paliewicz. "Participatory Rhetorics at the National Memorial for Peace and Justice and Legacy Museum." In Racial Terrorism, 160–83. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831743.003.0008.

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This chapter analyzes the participatory rhetorics of Montgomery’s National Memorial for Peace and Justice. Using participatory critical rhetoric as a methodology for criticism, we show how this place of memory uses affective, visual, and embodied appeals to create participatory spaces for remembering lynching pasts (and presents) in U.S. counties where lynchings occurred. As a supplement to the Legacy Museum, which exists down the street from the memorial, this memorial provides a dark tourist countermemorial that powerfully ruptures dominant civil rights memories.
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Callahan, William A. "Gardens in Diplomacy, War, and Peace." In Sensible Politics, 239–70. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190071738.003.0011.

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Chapter 10 continues the exploration of how visual artifacts can be sensory spaces and infrastructures of feeling that provoke unexpected affective communities of sense. It examines gardens as social constructions of social-ordering and world-ordering that both shape and participate in international politics. It questions how we use peace/war to understand international politics and argues that the “civility/martiality” dynamic is better for grasping such social-ordering and world-ordering performances. It develops civility/martiality to explore the sensible politics of how two key national war memorial sites—China’s Nanjing Massacre Memorial and Japan’s Yasukuni Shrine—work as gardens to perform international politics in unexpected ways. The conclusion considers how civility/martiality is useful for understanding (and feeling) the sensible politics of other key national memorial spaces, such as the National September 11 Museum and Memorial in New York. As with film-making, here garden-building is theory-building: by producing new sites and sensibilities, it creatively shapes our understanding of international politics.
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"Muskiti ya Bwana Sinclair’: Building the Peace Memorial Museum, 1919–1925." In Cracks in the Dome: Fractured Histories of Empire in the Zanzibar Museum, 1897-1964, 85–126. Routledge, 2016. http://dx.doi.org/10.4324/9781315574523-7.

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"Participatory Rhetorics at the National Memorial for Peace and Justice and Legacy Museum." In Racial Terrorism, 160–83. University Press of Mississippi, 2020. http://dx.doi.org/10.2307/j.ctv1fkgc9s.11.

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Hasian, Marouf A., and Nicholas S. Paliewicz. "The EJI, the Legacy Museum, and “Postgenocide” America." In Racial Terrorism, 184–202. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831743.003.0009.

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This chapter studies the counterpart to the National Memorial for Peace and Justice, the Legacy Museum. Attending to the affective and cerebral displays of racial pasts and presents, the authors show how the museum presents a timeline of racial terrorism from slavery to the present era of mass incarceration of persons of color. The hauntologies of the Legacy Museum not only radically critique the colorblind discourses of civil rights remembrances, but they also raise questions about the possibilities of the need to remember an African American Holocaust.
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Hasian, Marouf A., and Nicholas S. Paliewicz. "EJI Critiques of Confederate Statuary, Dixie Monumentalization, and Charlottesville Legacies." In Racial Terrorism, 137–59. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831743.003.0007.

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This chapter analyzes the presences of lynching historiographies that Stevenson and the EJI challenge at the National Memorial for Peace and Justice and the Legacy Museum. From a critical genealogical standpoint, the authors draw out the multi-directionality and competitive nature of Dixie monumentalization and the “narrative wars” in the South. This part of the book also specifically explains how the 2017 Unite the Right rally had everything to do with the living legacy, and iconography, of racial terrorism even though many had thought we were in a “post-racial” moment.
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