Academic literature on the topic 'Housser Memorial Collection'

The Auckland War Memorial Museum houses nearly 2000 Egyptian artefacts dating from the Palaeolithic to the modern era. Artefacts were obtained from professional institutions and societies including Cairo Museum, the Egypt Exploration Society, and the British Museum in the early 20th century. In addition, a number of objects were obtained from ‘soldier collectors’ during World Wars I and II. The collection is made up of objects from around Egypt, but mainly consists of collections from Amarna, Saqqara, Kharga, Abydos, and Matmar, amongst others. Here the history of the collection is examined.

The unpublished work of Heinrich Schenker (1868–1935) has long fascinated scholars interested in the origins and development of his analytic method. Most of his unpublished papers can be found in two archives: the Oster Collection, housed in the New York Public Library, and the Oswald Jonas Memorial Collection, located at the University of California at Riverside.1.

The article is dedicated a history of the unique furniture collection of the State Tyutchev Memorial estate «Mouranovo». The author put under consideration and systematizes the main house interiors of the Memorial estate according to the furniture styles in 18"1 and 19"1 cent. The owners and creators of the interior and exterior design made all the best for comfort and attractiveness in each room of the «nest of the gentry». Furniture made by European masters was added to some items made by local joiners and wood carvers; Empire style and Biedermeyer complimented one anther, some objects in Jacob style made more prominent some goods created in historical method. The author writes about special things and details in interiors of the main house in the time of the Engelgardts, E. Boratynsky, the Putyatas, the Tyutchevs from early 19th cent, till early 20"´ cent. Special emphasis is made on the importance to preserve some objects which became historical things of the house. The eclecticism in interiors of the Mouranovo memorial estate develops a taste of its visitors till nowdays, harmony of its furniture sets and separate pieces unites not only different styles but different generations, in the same way keeping the base of the nobility family life.

Professor Cornel Constantinescu was the vice-president of the Romanian Sociological Association and Associated University Professor at Pitești University, Department of Socio-human Sciences. Professor Cornel Constantinescu initiated the publication of the Scientific Bulletin. The Socio-Human Sciences series and the ten volumes from the “Sociological Profiles” collection of the University of Pitești Publishing House, in which texts of eminent sociologists from the past, such as Dimitrie Gusti, Traian Herseni and Vasile V. Caramelea, were capitalized.

AbstractIn 1625 the Monastery of St. John's in Haarlem, which housed the local Order of the Knights of the Hospital of St. John of Jerusalem (Hospitallers), was dissolved. The property, including a large collection of paintings, passed to the City of Haarlem, which claimed all the monasteries in the district of Haarlen as compensation for damage sustairted during the siege and rebellion against Spain. In the monastery's archives, now in the Haarlem Municipal Archives, memorial panels are menizoned fourteen times. Nine of thern occur in three inventories of 1573, one in a testament of 1574 and the rest in the Commander's accounts of 1572, 1573 and 1574. In the case of six of the thirteen items there is no description of the representation at all; one is simply said to depict a number of persons. Four of the six other items are Passion representations. Like The Last Judgment, such themes are in keeping with the functiort of a memorial panel. The description of one epitaph as 'in laudem artis musiccs' is not sufficiently clear to give an idea of the representation. More information is available as to the patrons or commemorated persons. All of them seem to have been members of the Order of St. John: four panels were memorials to commanders, three to ordinary hospitallers and one painting commemorated the founder of the monastery. All were priests. Nothing in the archives suggests that the church contained memorials to non-members of the order. This must nonetheless have been the case: a 'Liber- memoriarum' compiled in 1570 indicates that numerous memorial services were held for the laity, many of whom apparently chose St. John's as their last resting-place. It is thus highly likely that memorials for these worshippers were placed in the church. A 1572 inventory of St. John's Monastery makes no mention of memorial panels, probably because the contents of the church were not listed. After the monastery had been destroyed during the siege of Haarlem, three inventories were drawn up: one of the ruined monastery, one of the items - mainly paintings which were moved to Utrecht, and one of the property taken to the Sint Adriaansdoelen, the temporary home of the order after the destruction of the monastery. Only in these three inventories are epitaphs mentioned. The inventories of 1580 and 1606 were drawn up by order of the City, the claimant to the mortastery's propery. They make no mention of private possessions, not even those of the members of the Order. The 1625 inventory, drawn up after the death of the last inmate, only mentiorts the painting that was bought by the convent to be placed on the grave of its founder. Epitaphs which were not orderend by the convent were probably regarded as private property, and passed to the heirs prior to 1625. Exact dates cannot be ascertained. The author has identified two epitaphs and a painting coming from St. John's. It is not clear whether the small painting of Mary, her cousin Elizabeth and Commander Jan Willem Jansz. (1484-1514) (Staatliche Kunstsammlungen, Weimar) is (part of) an epitaph or a devotional painting (ill. 2). The 1572 inventory mentions a picture of Jan Willem. It is not described, but the painting in Weimar is a likely candidate because of its small size (72 x 50). The 1573 inventory of the property in the Adriaansdoelen lists a wing of the epitaph of 'Heer Jan', but again, the representation is not described. The 17thcentury genealogist Opt Straeten van der Moelen described the four family coats of arms on the painting, but said nothing about the representation or where he saw it. It was possible to identify the Hospitaller in the Weimar work because of the armorial shield hanging on a tree behind the kneeling figure. The arms correspond with what Opt Straeten van der Moelen described as the arms of the Hospitaller's father, and with a wax impression of Jan Willem Jansz.'s arms (ill. 1) on a document of 1494, now in the Haarlem Municipal Archive. The date and painter of the picture are not known. In the series of portraits of the Commanders of St. John's Monastery in Haarlem (Frans Hals Museum) is a second portrait of Jan Willem. In this, the seventeenth portrait in the series (ill. 3), he is grey-haired, in contrast to the Weimar painting, in which he is depicted with black hair. Jan Willem Jansz. was born in about 1450. In 1484 he was elected Commander of the order, a function which he held until his death in 1514. The Bowes Museum, Durham, owns a triptych of an Entombment (ills. 4 and 5). On the middle panel is a kneeling Knight Hospitaller; on each of the side panels are four persons, arranged in pairs. One of them, on the right wing, is another member of the Order. Coats of arms can be seen on the prie-dieu's behind which three of the four couples kneel, and on the back of the panels (ill. 6). Comparison of these arms with the one on the seal of Philips van Hogesteyn, Commander of the Order frorn 1571 to 1574, suggests that this is his epitaph (ill. 7). The memorial panel is mentioned in the 1573 inventory of property in the Adriaansdoelen. In 1570, before becoming prior of the monastery, Philips had a 'Liber memoriarum' compiled which contained the names of his grandparents and parents. His grandmother came from the Van Arkel family, whose arms bore two opposing embattled bars. This coal of arms facilitated identification of the couples on the left wing. The grandparents are kneeling behind the last prie-dieu - the Van Arkel arms are on the heraldic left of the shield. In front of them are Philips van Hogesteyn's parents. It is harder to establish the identity of the people on the right wing, but the couple kneeling behind the prie-dieu are very likely Philips' brother and sister-in-law. The woman behind them could be his sister. The brother and sister are mentioned in his will, which he made in 1568. However, it is not clear who the Hospitaller on this panel is. It could be an unknown member of the family, but it is also possible that Philips van Hogesteyn was depicted in the triplych twice, first simply as a member of the family on one wing and again, later on in life, on the middle panel as the most important patron. Besides this painted epitaph, an elegy on Philips van Hogesteyn, written bij Cornelys Schonaeus, headmaster of the Latin school in Haarlem, has been preserved. This poem only mentions the effigy of the late Philips in front of the 'worthy reader' - not a word about his family. The 1572 inventory lists two separate portraits of Philips. It is not known where he was buried, nor has it been possible to establish whether his epitaph, with or without the elegy, or a portrait plus an elegy were ever placed on his grave. The painter is not mentioned by name anywhere either. Philips van Hogesteyn took holy orders in 1553. Assuming that he was 17 years old when he joined the Order of St. John, he would have entered the monastery in 1544. If this assumption is correct and he is portrayed twice on the triplych, it could have been painted any time from 1544 on. The reason for the commission must remain unanswered. In the Catharijneconvent Museum in Utrechl is a triptych with a Crucifixion. On the left wing is a kneeling man in a chasuble and stole, and on the right wing a Hospitaller (ill. 8). Today the outsides of the panels are empty. In the catalogue of an exhibition of North-Netherlandish painting and sculpture before 1575, held in 1913, however, the vestiges of the armorial shields -- four on each panel - are mentioned. Apparently this is an epitaph for a member of the Oem van Wijngaarden family, brought to Utrecht in 1573. The Hospitaller is Tieleman Oem van Wijngaarden, who was living in St. John's Monastery in Haarlem at the beginning of the 16th century and died in 1518 person on the right-hand panel appears to be Dirk van Raaphorst -- also known as Dirk van Noordwijk. The Utrecht triptych is identified here as the Van Wijngaarden epitaph from St. John's Monastery despite the fact that the description of shield I on the right-hand panel does not point towards the Oem van Wijngaarden family. Thanks to the fourth shield on the same panel, still in fairly good condition in 1913, it was possible, by dint of invenstigating Tieleman's family, to establish him as the person portrayed on the right-hand panel (see Appendix II). Dirk van Raaphorst of Noordwijk was a canon of St. Pancras' Church in Leiden. He probably owed the name 'van Raaphorst of Noordwijk' to the fact that he was called after his maternal grandfather. For the same reason, the armorial shields on the back of the lefthand panel are not arranged in the usual manner but inverted, i being the mother's arms, II the father's (see also Appendix III). Dirk van Noordwijk was a nephew of Tieleman Oem van Wijngaarden (see Appendix IV). He died in 1502. In 15 18 Tieleman was buried in the same grave in the church of St. John's Monastery. This memorial panel, too, prompts several questions. It is not clear why distant relatives, whose deaths moreover were sixteen years apart, were commemorated on the same panel. Neither the painter nor the dale of the triptych is known. However, perhaps the source of Tieleman's portrait can be established (fig.9). The features in this portrait bear a marked resemblance to those in the portrait of the Hospitaller on the Van Wijngaarden epitaph in Utrecht. Despite publications on individual North-Netherlandish memorial panels, no scholarly examination of the total number of known pieces has yet been initiated. The author is preparing such an examination, which may yield more insight into the customs pertaining to the corramemoration of the dead and the place accupied by memorial panels.

During a visit in the summer 1970, Jacques Hymans, professor of History at San Francisco State Univeisity, found discarded papers strewn over the floor of an abandoned European-style house at Mushenge (Nsheng), the capital of the Kuba kingdom, zone Mweka, West Kasai, Democratic Republic of Congo. He salvaged them and then kept them at home. After his death Ms Kelley Hymans gave the papers to the collections of Memorial Library of the University of Wisconsin–Madison. To this a notebook, which Wisconsin obtained through the good offices of Professor Mary Douglas, has been added. This contains a census of the capital for 1939-40 carried out by Jules Lene (Lyeen) as tribute collector for the Kuba king.Since early colonial times the Kuba people were well-known in Europe for their sculpture and their artistic textiles, and because they formed a single kingdom headed by a “divine” king. This was also the only territory in the Belgian Congo where “indirect administration” was officially practiced after 1920. Under such circumstances it is not surprising that the Kuba capital Nsheng, known as Mushenge, eventually became a minor tourist attraction for amateurs of their arts. After independence, travel in Congo became difficult and the prestige of Mushenge declined, but some of its fascination remained, and Hymans was one of the persons still attracted to it. His last visit to Mushenge occurred in 1970, not long after the death of king Bop Mabinc maKyeen. It is on that occasion that he salvaged the papers now in Madison.

RESUMEN:La presente investigación se enfoca en el paisaje de sal de mar en Chile en el contexto de desastres, tomando como estudio de caso algunos de los terremotos- tsunamis y su huella en las salinas costeras, a fin de observar la resiliencia de estospaisajes.La metodología se ha desarrollado en tres fases y ha consistido en un estudio descriptivo, mediante una recopilación y revisión bibliográfica de fuentes primarias y secundarias online, que permitieron identificar como casos de estudio los terremotos-tsunamis de 1730,1751, 1906, 1960 y 2010 y, las afectaciones en algunas de las salinas litorales.Los resultados arrojaron que hay salinas que han tenido una respuesta resiliente ante los efectos de al menos 6 terremotos-tsunamis en un periodo de 280 años. En definitiva, los paisajes de sal de mar activos en Chile conllevan la incertidumbre latente en ellos, en donde los eventos catastróficos han puesto a prueba su capacidad de adaptación, resiliencia y su memoria colectiva para poder sobreponerse al desastre. De esta forma albergan la huella e internalizan la recurrencia de fenómenos que, aunque no son inusuales, son imprevisibles en elterritorio. ABSTRACT:The present investigation focuses on the sea salt landscape in Chile in the context of disasters, taking as a case study some of the earthquakes-tsunamis and their footprint on the coastal salt flats, in order to observe the resilience of theselandscapes.The methodology has been developed in three phases and has consisted of a descriptive study, through a collection and bibliographic review of primary and secondary sources online, that allowed to identify as case studies the earthquakes-Tsunamis of 1730, 1751, 1906, 1960 and 2010 and, the effects on some of the salines.The results showed that there are salines that have had a resilient response to the effects of at least 6 earthquakes-tsunamis over a period of 280 years. In short, the active sea salt landscapes in Chile carry the uncertainty inherent in them, where catastrophic events have tested their capacity to adapt, resilience and collective memory to overcome the disaster. In this way, they house the footprint and internalize the recurrence of phenomena that, although not unusual, are unpredictable in theterritory.

The article characterizes V.P. Adrianova-Peretts’s memorial library that is currently divided into two parts stored in Rare Book and Manuscript Department of the SPSTL SD RAS (Novosibirsk) and the Library of the Institute of the Russian Literature (Pushkin House of the Russian Academy of Sciences) (Saint Petersburg). The collection is based on books purchased by V.N. Peretts (i.e., academician, V.P. Adrianova-Peretts’s husband). The library summarizes research interests because it includes books related to philology, history and literature search methodology, as well as ethnographic and folk books dedicated to various national cultures. The memorial library contains several rarities. Authors analysed the library composition and sources of several books. Several inscriptions and autographs observed on the library books were submitted and analysed. Records of famous scientists (historians, ethnographers, philologists etc.) were detected among them. Unique D.S. Likhachyov’s inscriptions designed as ornaments of ancient Russian manuscripts were particularly noted.

Contemporary British artist Rachel Whiteread is celebrated for her ability to cast everyday objects that force the viewer to think about the spaces they typically ignore. House, one of Whiteread’s most well known and written about sculptures was created in 1993. House considered issues of memory in contemporary London, specifically parts of London that are experiencing drastic amounts of change. Current scholars understand House as a memorial, and while this thesis agrees with this interpretation, it also considers House as part of a group memorial with Whiteread’s other sculptural works created before and in 1993. This thesis begins by contextualizing Whiteread’s artistic practice in current scholarship and argues for further evaluation of House. After a thorough examination of the creation, destruction, and reception of House, I analyze current scholarship on the sculpture and consider the similar themes through Whiteread’s early work to prove their ability to act as a group memorial.

L'étude de livre d'heures et de prières d'un ensemble familial précis, sous la facette de dépôts de la mémoire et de l'identité personnelle et lignagère est le but de cette thèse. Celle-ci se base sur l'analyse de trente livres à caractère religieux (livres d'heures et de prières principalement) qui appartinrent aux membres d'un même groupe familial étendu dans le temps (du XIVe au XVe siècle), à savoir l'entourage familial de Catherine de Clèves, duchesse de Gueldre (1417-1476). Ce groupe familial constitue, d'une part, une communauté lignagère, soutenue par de forts liens de parenté et d'autre part, une communauté dévotionnelle. Ces liens articulent l'identité ainsi que la culture de l'individu, s'insèrent et se projettent dans les livres d'heures, instruments privilégiés de la dévotion privée, qui en deviennent de véritables dépôts et véhicules de l'identité et de la mémoire de leur propriétaire. Notre étude s'organise en trois parties, cherchant d'abord la définition et la caractérisation de l'ensemble familial, auquel appartenait Catherine de Clèves, particulièrement marqué par l'influence de la maison de Bourgogne, passant, ensuite, par la définition du corpus de manuscrits, pour entrer, finalement, dans l'analyse des formes qui permettent de considérer le livre d'heures comme un locus d'identité et de mémoire (locus memoriae)
The possibility to study Books of Hours and Prayer Books of a determined family group like deposits of memory and personal and lineage identity is the main goal of this thesis which is centered in the analisys of thirty books of religious carácter, being them mainly books of hours and prayer books, that belonged to members of the same family group extended through time (XIVth and XVth Centuries), that is to say, the family entourage of Catherine of Cleves, Duchess of Guelders (1417-1476). This family group is articulated as an ancestral community held by strong bonds of kinship as well as a devotional community. These bonds, that articulate the identity and the culture of the individual, are by different ways projected in the books of hours, a privileged instrument of private devotion. In this way, these ones, are constituted in actual deposits and vehicles of identity and the memory of their possessor. The present study is organized in three parts which progressively advance towards the definition and characterization of the family group to which belonged Catherine of Cleves, particularly marked by the influence of the House of Burgundy, passing through the definition of the corpus of manuscripts to enter, finally, in the analysis of the differents ways that permits to consider book of hours as a locus of identity and memory (locus memoriæ)

The collection includes articles prepared by young scientists, students and undergraduates, who participated in the conferences “Space and Time in Russian Literature and Philosophy” in 2018-2020. These conferences were regularly organized within the framework of the Project “Russian Literature and Philosophy: Ways of interaction” (Russian Science Foundation, project No. 17-18-01432-П) by the A.M. Gorky Institute of World Literature of the Russian Academy of Sciences in cooperation with “A. F. Losev House” - Research Library and Memorial Museum” and “A.F. Losev Center of the Russian Language and Culture” (Institute of Philology, Moscow State Pedagogical University).

Franz Joseph Gall, who was born into a large family in the small German town of Tiefenbronn in 1758. Often called Joseph (not Franz) during his formative years, he enjoyed nature, especially watching and catching birds and wild animals, and also collecting specimens. He began his studies in the house of the brother of an uncle, a priest in the nearby town of Weil der Stadt, before moving on to a lyceum in Baden and then on to Bruchsal. Wanting a secular career, he enrolled in the University of Strasbourg in 1777, where he studied anatomy and medicine. He would later reflect that the good memorizers at Strasbourg and of his earlier years had a correlative physical feature: large, bulging eyes. But at the time, he seemed committed to time-honored theories of mind and brain. Completing his medical education in Vienna in 1785, he aspired to become a physician to the wealthy in the city.

In the collective memories of the Lower Amazon maroons, the decades after emancipation are remembered as a period when “the people were oppressed” by Brazil nut merchants, who “enslaved” the blacks of the region. However, a number of individuals also relate memories of merchants who “helped the people,” who “gave goods for the saint patron’s parties,” and who acted, in the words of a Trombetas River maroon descendant, as “fathers of the people.” To reconcile these perspectives I argue in this chapter that these conflicting stories reflect two spheres in the relationships between black peasants and Brazil nut merchants. While the first one was characterized by domination, a few individuals successfully accommodated to, and even collaborated with, the newly arrived commercial houses. In both spheres, Afro-descendant forest specialists and explorers were fundamental to the merchants’ penetration into a world where the mocambeiros had hitherto ruled. In the end, the loss of autonomy and quality of life in the 1910s and 1920s shaped the maroon descendants’ social memory for the rest of the twentieth century, filling it with narratives of poverty, dispossession, and the speech figure of the “new slavery.”

This chapter charts the cinematic itineraries and maps the sites of memory, or the lieux de mémoire, of the Holocaust in Eastern Europe by means of a discussion of three main case studies, the documentaries My Grandfather’s House: The Journey Home, Divan and Shoah par balles: L’histoire oubliée. This investigation is based on spaces associated both with collective histories of the destruction of the Jews at the hands of the Nazis and their collaborators and with the familial connections to the places where the Jews lived before the Holocaust. The main focus is on the process of transmission of trauma from those who witnessed the events to that postgeneration for which the traumatic occurrences that preceded their births appear to have become memories in their own right.

This chapter concerns Jedwabne. It first attempts to ‘reconstruct’ the Jedwabne of pre-war times, with its Jewish, Polish, and German inhabitants, and their houses, shops, crafts, markets, and everyday life. The chapter then investigates the memories of the oldest living generation of Polish Catholics. It also takes a look at how their individual memory been shaped by collective memory, including stereotypes and prejudices. The ‘world before the war’ here is explored whether as an arena of conflict or of coexistence. Next, the chapter deals with the tragedy of July 1941. It considers the effects of the tragedy upon the sociocultural memory of the three generations of Polish Catholics living in Jedwabne and how it is expressed in myths, superstitions, omissions, and fables. From there, the chapter considers why and how witnesses choose between testimony and silence. Finally, the chapter examines how the publicity on the matter influenced people’s memory.

It is an accepted standard that any new interpretation at a heritage site needs to be stimulating and engaging, while appealing to the widest audience possible (Carver 2008a–c) in the most accessible manner. A number of events in the last decade, such as the repatriation of indigenous human tissue and material culture (see Jenkins this volume), have encouraged debate around artefact ownership and sensitive presentation in respect of minority cultural traditions and values (see Rathouse this volume). As well as an increased awareness in professional bodies, there has been a perceived heightened sensitivity of visitors, and their awareness of propriety and respect of different cultures. For many English Heritage sites open to the public, including ancient monuments, historic buildings, their collections and the stories attached to them have links to sensitive subjects. Some have the power to elicit strong emotions in the modern public. As well as human remains and death memorials, these sites include stories about slavery (e.g. Kenwood House), theories of evolution (Darwin’s home at Down House), religious persecution (e.g. Clifford’s Tower; Mount Grace), prisoner of war experiences (e.g. Portchester Castle), and human destitution and poverty (e.g. the Poor House at Framlingham Castle). In designing displays, considerable emphasis is placed on tone and language to sensitively guide the visitor through an engaging yet thoughtful presentation. As the discipline of interpretation is the visitor-facing product building from many academic fields, it is open to influence. This openness to different ideas, however, can occasionally lapse into a lack of cohesion and self-doubt (see Jenkins 2011). An example of this ambivalence is particularly evident in the display of human remains which has shifted from a frequently low-brow form of morbid entertainment (such as the display of Egyptian mummies in Victorian times) to that of occasionally disproportionate respect and shielding (see Jenkins this volume). Where time and funds permit, this is usually managed by the use of interpretation evaluation, both formative (before the interpretation is created) and summative (after the interpretation has been installed). In addition, organizations such as English Heritage have also benefited from internal and externally appointed scientific advisors who can authoritatively aid the navigation of delicate subjects such as the presentation of pre-Christian era human remains (for example at Avebury; see Giles and Williams this volume).

Memorial tourist resources indicate historical facts and events so that they would not be forgotten and ensure their presentation to the interested parties. They are material sites created by people to serve as evidence of significant events from the past: monuments, memorials, pantheons, tombs, mausoleums, charnel houses, places of death, memorial complexes, battlefields, historical exhibitions, alleys of commemoration, birthplaces, etc. They are important markers in creating tourist routes or they have become symbols of particular tourist destinations.