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Kultur und Öffentlichkeit gestalten. Stuttgart: Raabe. 11–15. Benkert, Wolfgang, Lenders, Britta & Vermeulen, Peter (Hrsg.) (1995): KulturMarketing: Den Dialog zwischen Kultur und Öffentlichkeit gestalten. Stuttgart: Raabe. Bennett, Tony (1994): The Reluctant Museum Visitor: A Study of Non-Goers to History Museums and Art Galleries. Redfern: Australia Council for the Arts. Bennett, Tony (1995): The Birth of the Museum: History, Theory, Politics. London: Routledge. Bennett, Tony & Frow, John (1991): Art Galleries: Who Goes? Redfern: Australia Council for the Arts

Staunen angesichts einer »Kunst«, die vom göttlichen Geist selbst zu stammen scheint. Zweifel, Abwägung und Kritik sind jedoch konstitutiv für den medialen, symbolischen und sozialen Modus der Aus- 3 Tony Bennett, The Birth of the Museum. History, Theory, Politics, London/New York: Rout- ledge 1995. 4 Helmut Draxler, »The Turn from the Turns: An Avant-Garde Moving Out of the Centre (1986- 1993)«, in: Joshua Decter/Helmut Draxler u.a., Exhibition as Social Intervention. ›Culture in Action‹ 1993, London: Af terall Books/Köln: König 2014, S. 44-64. 5 Benjamin sieht

; R. Sandell, Social inclusion. 16 | J. Marstine: The Routledge Companion to Museum Ethics; C. Kreps: Liberating Cul- ture; N. Simon: The Participatory Museum. 17 | H. Graham/R. Mason/N. Nayling: The Personal is Still Political; B. Lynch/S. J. M. M. Alberti: Legacies of prejudice; B. Lynch: Collaboration, Contestation, and Creative Con- flict; J. Marstine: The Routledge Companion to Museum Ethics; R. Sandell: Museums and the combating of social inequality; R. Sandell: Social inclusion, the museum. 18 | E. Crooke: Museums and Community; B. Lynch/S. J. M. M

of art which was befitting of the British national identity and a correspondingly legitimated interaction with art exhibitions. 1762 In the year 1762, three exhibitions took place in London simultaneously – one organised by the Society for the Arts, one by the Society of the Artists of Great Britain, and a third by the Nonsense Club, in the home of the painter William Hogarth. The Nonsense Club was a group of five writers who published period- icals, composed satirical poetry and who were involved in the political debates of the time. The aesthetics they

uns auf die Fortführung der Debatte. Literatur James Clif ford (Hg.): Writing Culture: The Poetics and Politics of Ethnography 1986. Gary S. Schaal: Politik der Gefühle. Zur Rolle von Emotionen in der Demokra- tie. 2013. In: Aus Politik und Zeitgeschichte 2013. www.bpb.de/apuz/165744/ zur-rolle-von-emotionen-in-der-demokratie (zuletzt aufgerufen 18.3.2019).

: »Clashing and Sharing: Prac- ticing Emotion Networks in Heritage Production«, in: Laurajane Smith, Mar- »Out of the Bubble« 129 garet Wetherell, Gary Campbell (Hg.): Emotion, Affective Practices, and the Past in the Present, London 2018. Richard Sennett: Together: The Rituals, Pleasures and Politics of Cooperation. Lon- don 2013 (Erstveröffentlichung: 2012; dt.: Zusammenarbeit. Was unsere Gesell- schaft zusammenhält, Berlin 2012).

”, and ethnic German refugees from Eastern Europe. Connected with these are topics such as the suffering of the civilian population and their spirit of resistance against the Nazis, the “dark chapter” of German history, or the practical ingenuity of the Germans in times of hardship. The research, which was supervised by the literary scholar Prof. Aleida Assmann (Constance) and the historian Prof. Rosmarie Beier-de Haan (Berlin), is driven by questions concerning remembrance and memory research as well as the politics of history. For that reason, in the following

killing-units, known as Einsatzgruppen, followed the German army into So- viet territory, killing anyone deemed a threat to German occupation, including Jews, Roma, and Soviet political officials. By late July 1941, the Einsatzgruppen – aided by locally recruited police auxiliaries and German police units – were murdering Jew- ish communities in their entirety: men, women, and children. Over a million Jews and tens of thousands of Soviet political officials, Roma, and disabled people were eventually murdered by the Einsatzgruppen and their collaborators by the

. Natter: „Die Sammlung als Museumsfundament. Das Schaudepot des neuen Vorarlberger Landesmuseums“, in: Tobias G. Natter, Michael Fehr, Bet- tina Habsburg-Lothringen (Hg.), Das Schaudepot. Zwischen offenem Magazin und Inszenierung, Bielefeld: transcript Verlag 2010, S. 135-156. 23 Ames, Michael M.: Cannibal Tours and Glass Boxes, 1992, S. 93. 24 Cossons, Neil: „Rambling Reflections of a museum man“, in: Patrick Boylan (Hg.): Museum 2000 politics, people, professionals & profit, London: Routledge 1992, S 123-147, hier S 136. MICHAELA REICHEL – RESÜMEE DER

12 Ebd. 3.6. 2013 Abb.2 Stahlfragment aus Stalingrad, Leihnahme Staatliches Historisches Museumsreservat „Stalingrader Schlacht“, Wolgograd DEN ZWEITEN WELTKRIEG OSTDEUTSCHLAND AUSSTELLEN | 153 sehen lassen“ 13 –, heißt es dann weiter: „Wer allerdings genau die den Exponaten beigefügten Texte studiert, bemerkt rasch, dass die Ausstel- lungsmacher bemüht waren, der Political Correctness zu entsprechen, in- dem immer wieder auf Kriegsverbrechen der 6. deutschen Armee hinge- wiesen wird.“ 14 Dieser Argumentation zufolge wurde in der Stalingradaus- stellung