On August 5th, while preparing for the mission, pilot Colonel Paul Tibbets named the B-29 after his mother, Enola Gay Tibbets. The planned attack on Hiroshima for August 1st was postponed for a few days because of a typhoon.
On one, it dropped a 6300 “pumpkin” bomb, designed to simulate the “Fat Man” atomic bomb (the code name reportedly referred to Sydney Greenstreet’s character in the movie The Maltese Falcon), which would soon be dropped on Nagasaki. In the month leading up to the Hiroshima bombing, the plane, still unnamed, flew eight practice missions and two regular bombing missions over Japan. The Navy turned it into a 40,000-person military base. The island, formerly under Japanese control and used as a sugar plantation, had been seized by U.S. The plane arrived on the South Seas island of Tinian in July 1945.
This investigation further concludes that museum attempts to use this aspect of The Narrative Dimension offer an innovative way to curate difficult knowledge.The most famous war plane in history was built in 1945, as part of a batch of 15 Silverplate B-29 bombers specially modified for atomic bombing missions. Part of The Narrative Dimension includes critical engagement with a country’s master national narrative templates and those that problematize them. It suggests a new curricular imperative coined The Narrative Dimension for history education that might also be used in museology and public history. This study offers a new research approach for the identification, and analysis of national narratives in sites of pedagogy-classrooms, textbooks, monuments, national historic sites, museums, news media, architectural spaces, arbitrated cityscapes, Indigenous landscape features, and public performances. In other instances, NN 3.0 throws into question taken-for-granted notions around the concepts of nationhood and national identity, through narratives grounded in land, place, or global forces. Rather, NN 3.0 captures competing, or silenced aspects of Canadian history through national narratives that contest, rebuke or, intervene in the storylines of Master National Narrative Templates 1.0 and 2.0, thereby providing a more nuanced account and multiple perspectives on Canadian identity. This framework identified two master national narrative templates-Master National Narrative Template 1.0 (the progressive, unified, Euro-Western colony-to-nation narrative of Canada), Master National Narrative Template 2.0 (Canada as a progress-oriented, generous, tolerant, multicultural mosaic)-and a third dimension titled Counter National Narratives 3.0, that is not a narrative template. This research also introduced and utilized a Framework of Canadian National Narratives capturing current constructions of Canadian national identity. Using a theoretical frame that applied approaches within critical museology and historical consciousness, this investigation interrogated the CMHR as a site of pedagogy that could be read for its representational and spatial meanings, and as a site of historical consciousness that communicates a past, present, and future vision of Canada.
Within this milieu, Canada recently (2014) inaugurated its sixth national museum, the Canadian Museum for Human Rights (CMHR), in Winnipeg, Manitoba. As Canada prepares for its 150th birthday, within the context of its colonial legacy, silenced histories, and multiple, shifting identities in the present, Canadian sites of pedagogy are confronting questions around whose national narratives they are communicating.