Reimagining the Restoration: Samuel Pepys's Diary and Popular History for the Twenty-first Century

自1825年首次出版以来，塞缪尔·佩皮斯17世纪60年代的日记一直是历史学家和文学学者研究复辟时期的重要来源。这本日记将亲密、淫秽的经历和重大的国家事件--如瘟疫、大火和荷兰战争--结合在一起，具有持久的吸引力。这是一个来源，已成为主导公众的理解后，十七世纪。随着越来越完整的版本出现，佩皮斯的日记激发了展览，小说和电视剧的灵感，并被用来出售从钢笔到威士忌的一切。尽管有相当大的商业和策展的创造性，佩皮斯的日记今天被使用的方式属于可预测的模式，无论是讨论的事件和采取的方法。这些方法中的一些--日记的读者没有认识到--是佩皮斯通过控制对他的论文的访问而采取的步骤来调节的，甚至是设计的。佩皮斯将日记作为图书馆的一部分遗赠给了剑桥的抹大拉学院，自1724年以来一直在那里，对它的访问有严格的条件。因此，这个项目调查了佩皮斯的日记在过去200年的接受，作为一种手段，影响它的方式，和恢复，将在二十一世纪的理解。这部作品有三个部分，由包容性和讲故事的主题统一起来。首先，一本学术贸易书，塞缪尔佩皮斯日记的秘密历史，将探讨日记的接受。这本书的时间安排在日记出版200周年之际，该书将追溯佩皮斯日记在流行文化中塑造复辟思想的方式，从早期的审查版本（这引发了维多利亚评论家对“压制”段落的抗议）到它在国家课程中的作用，以及激发有争议的小说。这本日记一直引发史学界关于什么样的历史、谁的历史值得讲述的争论。为了进一步实现这一点，我将提供有关佩皮斯日记中其他生活的档案发现-例如非精英女性，黑人伦敦人，一个聋哑男孩和他的签名朋友-他们的故事有时并不比佩皮斯自己的故事更引人注目。这个项目的第二部分关注那些“其他的生活”，并发展了历史小说家与日记的长期参与。在这个项目的早期，我将根据我的研究为有创意的作家举办在线研讨会，这反过来将为本书对历史小说的讨论提供信息。利用我的档案工作，这些研讨会将参与写作历史小说的过程，包括涉及创造关于真实的（和沉默的）个人的故事的道德问题。最后一个环节是与我的合作组织伦敦博物馆合作开发的一个雄心勃勃的参与工作计划，目标是小学生、家长和教师。每一年的日记是第一次介绍十七世纪的历史，为5至7岁的英格兰和威尔士，谁了解大火灾在国家课程关键阶段1。博物馆已经确定了在教授火方面需要更大的多样性，我对佩皮斯日记的研究可以帮助回答这个问题。我们将共同为成功的fireoflondon.org.uk网站的新领域制作KS 1教育资源。此外，与D/聋人学校的接触工作将侧重于手语的历史，如日记所示。随着博物馆新的西史密斯菲尔德网站的工作正在进行中，这种合作也允许项目研究，以告知大火画廊设计的元素。当我们接近日记出版200周年和佩皮斯图书馆300周年纪念日时，是时候认识到塑造日记在向公众代表恢复方面的作用的因素，并开发可以扩大这一作用的资源，并在这样做的过程中扩大公众。

Since it was first published in 1825, Samuel Pepys's diary of the 1660s has been a vital source on the Restoration period for historians and literary scholars. The diary's mix of intimate, salacious experiences and major national events -- such as the plague, the Great Fire and the Dutch War -- has an enduring appeal. It is a source which has come to dominate public understanding of the later seventeenth century. With increasingly complete editions appearing, Pepys's diary has inspired exhibitions, novels and tv dramas, and has been used to sell everything from pens to whisky. Despite considerable commercial and curatorial inventiveness, the ways that Pepys's diary is used today fall into predictable patterns in terms of both the episodes discussed and the approaches adopted. A number of these approaches -- unrecognised by the diary's readers -- were conditioned, even designed, by Pepys through steps he took to control access to his papers. Pepys bequeathed his diary as part of his library to Magdalene College, Cambridge, where it has been since 1724, with strict conditions on its access. This project therefore investigates the reception of Pepys's diary over the last 200 years as a means to impact the ways it, and the Restoration, will be understood in the twenty-first century. The work has three strands which are united by the themes of inclusivity and storytelling. First, an academic trade book, The Secret History of Samuel Pepys's Diary, will explore the diary's reception. Timed to coincide with the 200th anniversary of the diary's publication, the book will trace the ways Pepys's diary has shaped ideas of the Restoration in popular culture, from early censored editions (which sparked protests among Victorian reviewers about 'suppressed' passages) to its role in the National Curriculum, and in inspiring controversial novels. The diary has always prompted historiographical debates over what kind of history, and whose histories, merit telling. To further this, I will offer archival discoveries about the other lives that feature in Pepys's diary -- such as those of non-elite women, Black Londoners, and a deaf boy and his signing friends -- whose stories are sometimes no less compelling than Pepys's own. The second strand of this project concerns those 'other lives' and develops the long-standing involvement of historical novelists with the diary. Early in the project, I will run online workshops for creative writers based on my research, which will in turn inform the book's discussion of historical fictions. Using my archival work, these workshops will engage with the process of writing historical fictions, including ethical questions involved in creating stories about real (and silenced) individuals. The final strand is an ambitious programme of engagement work developed with my collaborating organisation, the Museum of London, which targets primary school children, parents, and teachers. Each year the diary is the first introduction to seventeenth-century history for 5 to 7-year-olds across England and Wales, who learn about the Great Fire during National Curriculum Key Stage 1. The Museum has identified demand for greater diversity in teaching the Fire, demand that my research on Pepys's diary can help answer. Together we will produce KS1 educational resources for a new area of the successful fireoflondon.org.uk website. In addition, engagement work with D/deaf schools will focus on the history of sign language, as evinced in the diary. With work underway on the Museum's new West Smithfield site, this collaboration also allows project research to inform elements of the Great Fire gallery design. As we approach the 200th anniversary of the diary's publication and the 300th anniversary of the Pepys Library, it is time to recognise the factors that shaped the diary's role in representing the Restoration to the public and to develop resources that can expand that role and, in doing so, expand that public.