The Warsaw Rising Museum (WRM), opened in Warsaw in 2004 to commemorate the 1944 rebellion by Polish citizen-soldiers against Nazi occupiers, is considered the first modern historical museum in Poland. During the ten years since its opening, it has had a significant influence not only on public imaginations of the Rising but also subsequent museum trends in Poland. Using Anna Wieczorkiewicz’s concept of the “museal game” in which meaning is produced jointly by the museum institution and its visitors, we address the following questions: what meanings does the WRM have for its various audiences, and how has it come to have these meanings? Drawing on analysis of the museum’s founding documents and press coverage of the museum, interviews with visitors, and a review of scholarly literature, we seek to understand the universe of meanings within which the WRM has become a sociocultural phenomenon. We argue that the strategies employed by the museum encompass interconnected political and poetical dimensions. Specifically, we discuss how the museum attempts to foster Polish national identity by evoking personal identification among visitors by appealing to their emotions. We examine the range of meanings the WRM has been given by various participants in the museal game—museum originators, “public voices” including scholars and journalists, visitors, and ourselves as researchers. In doing so, we give special attention to the notion of nostalgia—how it has been operationalized by the museum planners, and how it is received by the audience, in the service of promoting personal and emotional identification.

中文翻译：

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肌肉游戏和情感真相

为纪念1944年波兰公民士兵对纳粹占领者的叛乱而成立的华沙崛起博物馆（WRM），被认为是波兰第一家现代历史博物馆，于2004年在华沙成立。自开放以来的十年中，它不仅对公众对崛起的想象力产生了重大影响，而且对随后的波兰博物馆趋势也产生了重大影响。利用安娜·维克佐科维奇（Anna Wieczorkiewicz）的“音乐游戏”概念（由博物馆机构及其访客共同产生意义），我们解决了以下问题：WRM对不同受众有什么意义，以及它如何具有这些意义？借助对博物馆创建文件的分析和对博物馆的新闻报道，访问者的采访以及对学术文献的回顾，我们力求了解WRM已成为一种社会文化现象的意义宇宙。我们认为博物馆采用的策略涵盖了相互联系的政治和政治层面。具体来说，我们讨论了博物馆如何通过吸引游客的情绪来激发游客的个人身份，从而试图树立波兰的民族身份。我们研究了音乐游戏中各种参与者（博物馆创始人，包括学者和新闻工作者，来访者以及我们自己作为研究人员的“公众声音”）赋予WRM的含义范围。在此过程中，我们要特别注意怀旧的概念-博物馆策划者如何运用怀旧，以及观众如何接受怀旧，以促进个人和情感认同。