What can artful history teach us about how to write about archives in a way that honours the past yet makes history come alive?

巧妙的历史可以教给我们什么关于如何以一种尊重过去但又让历史变得生动的方式来书写档案？

• 批准号: 2837938
• 金额: --
• 依托单位: University of Dundee
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2837938
• 关键词: What; artful; history; teach; us

My thesis will comprise a Research and a Creative Project. The research element (30%) will focus on recovering Bird's work through the study of her letters, books, photographs and biographies and conducting a methodologically-driven analysis of the archive to understand Bird's writing approach. I will use Bird's letters as the basis of exploring truth and affect theories in the management, preservation and use of archives. I will consider how the power of institutions such as the National Library of Scotland can influence the portrayal of the past and how these can impact on what becomes 'history', 'national identity' and 'collective memory' (truth), and how this can impact on the emotional reactions (affect) of users as well as creators of archives. I will explore the theories of Michel Foucault and Edward Said, in order to raise questions as to the relationship between truth, representation and the archive, with respect to the John Murray Collection.In the creative project (70%) I will interrogate those who have followed White's 'Metahistory' (1973) to highlight the overlaps between literature and history: narrative, language, plot and metaphor (amongst others) to conceptualise how I apply these principles to my creative non-fiction essays. White argued against the 'scientific' model of knowledge production, and emphasised instead, the plurality of interpretations and literary strategies in the narration of historical accounts. My own writing is informed by postmodernist histories such as Rosenstone's, 'The Mirror and the Shrine' (1988), and Sachs' and Demos' 'Artful History' (2020). This anthology demonstrates how literary strategies open up history in interesting, emotional ways, and how, like novelists, historians need to find a form that acknowledges subjectivity. Writing essays gives the freedom to write history in the first person, to mergereflexive thoughts and multiple viewpoints with authors' original words. Bird's detailed narratives and poetic prose lifted her work beyond the norm and her letter format brought a vividness to her accounts, rarely portrayed by travel writers. My work verges on critical/creative hybridity and uses subjectivity to open up the past and bring a modern-day perspective to Bird's writing.Artful History uses the classic techniques of storytelling and aims to see history as a branch of literature. It is 'History from the Heart' as opposed to 'History in the Head' (Demos) and as such it activates the senses and the imagination. By exploring Bird's prose, I seek to learn to write about her work in a way that is not only instructive, but also moving - making a conceptual contribution to artful history.Bird's early travel writing took the form of letters composed to her sister. She wrote a number of books on exotic and remote locations, ranging from the Hawaiian Islands and North America, to the Far East and many other destinations. She portrayed a feminine, European, Christian and colonial vision of countries she visited, adjusting her own writing as she also became a pioneer of photography, offering more factual and geographical details in her accounts. Bird's letters offer an intriguing terrain for 'artful history' affording the historian as critic opportunities to explore Bird's rhetorical devices, her language, narrative stratagems and personas. My project will match Bird's work as both writer and historian, the arts of creative non-fiction meeting history in an 'artful' analysis that takes into account shifting voices and viewpoints, prose poetry and reflection, in a similar way to Rosenstone's narratives and Stegner's 'Wolf Willow' (1962).The creative project will consist of ten essays, which will focus on Bird's travels in the Rocky Mountains, Japan and other areas in the Far East. The key voices will be those of Isabella, her Japanese servant-interpreter, Itõ Tsurukichi and John Murray, her publisher, as they had a pivotal influence on Isabella's journeys. I have to date writt

我的论文将包括一个研究和一个创造性的项目。研究部分（30%）将侧重于通过研究伯德的信件、书籍、照片和传记来恢复伯德的作品，并对档案进行方法论驱动的分析，以了解伯德的写作方法。我将以伯德的书信为基础，探讨档案管理、保存和利用中的真理和情感理论。我将考虑如何权力的机构，如苏格兰国家图书馆可以影响过去的写照，以及如何这些可以影响什么成为“历史”，“民族认同”和“集体记忆”（真相），以及如何这可以影响的情感反应（影响）的用户以及档案的创作者。我将探索米歇尔·福柯和爱德华·赛义德的理论，以提出关于约翰·默里收藏的真理、再现和档案之间关系的问题。在创造性项目（70%）中，我将询问那些遵循白色的“元历史”（1973）的人，以突出文学和历史之间的重叠：叙事，语言，情节和隐喻（除其他外），以概念化我如何将这些原则应用于我的创造性非小说类文章。白色反对知识生产的“科学”模式，而是强调历史叙述中解释和文学策略的多元化。我自己的写作受到后现代主义历史的影响，如罗森斯通的《镜子与神殿》（1988），萨克斯和德莫斯的《艺术历史》（2020）。这本选集展示了文学策略如何以有趣，情感的方式打开历史，以及历史学家如何像小说家一样需要找到一种承认主观性的形式。写论文可以自由地以第一人称写历史，将反身性思想和多种观点与作者的原话结合起来。伯德详细的叙述和诗意的散文使她的作品超越了常规，她的信件格式给她的叙述带来了生动的色彩，这是旅行作家很少描绘的。我的作品接近于批判性/创造性的混合，并使用主观性来打开过去，并为伯德的写作带来现代视角。艺术历史使用经典的讲故事技巧，旨在将历史视为文学的分支。它是“来自内心的历史”，而不是“头脑中的历史”（演示），因此它激活了感官和想象力。通过探索伯德的散文，我试图学习以一种不仅有教育意义，而且令人感动的方式来写她的作品-为巧妙的历史做出概念上的贡献。伯德早期的旅行写作采取了写给她姐姐的信的形式。她写了许多关于异国情调和偏远地区的书，从夏威夷群岛和北美到远东和许多其他目的地。她描绘了她所访问的国家的女性，欧洲，基督教和殖民地的愿景，调整了她自己的写作，因为她也成为摄影的先驱，在她的帐户中提供更多的事实和地理细节。伯德的信件为“巧妙的历史”提供了一个有趣的地形，使历史学家有机会作为评论家来探索伯德的修辞手段，她的语言，叙事策略和人物。我的项目将与伯德的作品相匹配，作为作家和历史学家，创造性的非小说艺术在一个“巧妙”的分析中与历史相遇，考虑到不断变化的声音和观点，散文诗和反思，以类似于罗森斯通的叙述和斯特格纳的《狼杨柳》（1962）的方式。创造性的项目将包括十篇文章，重点是伯德在落基山脉的旅行，日本和远东其他地区。关键的声音将是伊莎贝拉，她的日本仆人，翻译，鹤吉和约翰默里，她的出版商，因为他们有一个关键的影响伊莎贝拉的旅程。我必须写日期