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The Visual Politics and Narratives of Red Cross Museums in Europe and the United States, 1920s to 2010s
Sönke Kunkel

. The background, a painted canvas, showed a panorama of the destroyed city while in the foreground the drama of relief was illustrated through a three-dimensional model of the hospitals put up to help the wounded. Reflecting the state of the art in the museum world, the exhibit worked with electrical lights to stage and dramatize objects and used stained glass windows designed by Louis Tiffany of New York. In addition, the museum also impressed through large, portentous

Journal of Humanitarian Affairs
Alexander Spencer

that we narrate to ourselves’ (Brooks 1984: 3). In fact, one may argue that we are currently in the middle of a narrative, in our case a narrative about the importance of narrative. As Roland Barthes has pointed out: Among the vehicles of narrative are articulated language, whether oral or written, pictures, still or moving, gestures, and an ordered mixture of all those substances; narrative is present in myth, legend, fable, tale, short stories, epics, history, tragedy, drame [suspense drama], comedy, pantomime, painting … stained-glass windows, movies, local news

in Romantic narratives in international politics