NUK - logo
E-viri
Celotno besedilo
Recenzirano Odprti dostop
  • MEMORY AS A MUSEUM PRACTICE
    Tone Kregar

    Kultura (Skopje), 03/2015, Letnik: 4, Številka: 8
    Journal Article

    In the current public discourse memory is among the most common words, concepts, and contents of a multiplicity of meanings, connotations and contexts. Besides personal memory, the interpretations of our past and consequently our present often include refer-ences of collective and historical memory. This termi-nology is particularly popular with politicians and pub-licists striving for a more colourful vocabulary, who often use the fore mentioned terms as synonyms. Scien-tific and professional circles are more conscientious at differentiating these terms, as their research focuses on studying the past and, consequently, on the role of memory or on the very process of remembering. Howev-er, within this corpus certain differences in the termi-nology and different views on the types and forms of memory do exist. In this paper, rather than psychologi-cal and sociological theories (by Maurice Halbwachs and others) we focus on how we, historians, look on the vari-ous forms of memory, especially those historians who study (still "alive") 20th century. And who in their work, let it be research, teaching, or, like in my case - work in a museum, rely on both, individual memories and collec-tive memory to shape the historical memory of a com-munity or society. Although greater terminological clari-ty in this regard would be more than welcome, it is most important that we correctly identify the different forms and types of memory and its components and that we use them appropriately in our work - that is in research, understanding and interpreting our past or our history. Even more so because they often intertwine with each other, overlap, complement, and transform from one to another, or, sometimes even exclude each other. There-fore it is often difficult to clearly distinguish one from another and to deal with them separately. Historians working in the Museum of Recent History Celje are faced with these issues and problems on a daily basis; many specific examples of our work further de-monstrate the moulding complexity of memory and its forms and go beyond the theoretical classifications and division.