Francis X. Blouin Jr. and William G. Rosenberg
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199740543
- eISBN:
- 9780199894673
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199740543.003.0012
- Subject:
- History, Historiography, History of Ideas
In a short, final chapter the authors raise the question of whether archives and history—archivists and historians—can reconnect in our digitalized “post-custodial” age, and why being better informed ...
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In a short, final chapter the authors raise the question of whether archives and history—archivists and historians—can reconnect in our digitalized “post-custodial” age, and why being better informed about both scholarly and archival practices might be the best (and only) way to bridge the new archival divide.Less
In a short, final chapter the authors raise the question of whether archives and history—archivists and historians—can reconnect in our digitalized “post-custodial” age, and why being better informed about both scholarly and archival practices might be the best (and only) way to bridge the new archival divide.
Michael C. Heller
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780520285408
- eISBN:
- 9780520960893
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520285408.003.0007
- Subject:
- Music, History, American
This chapter looks at the various challenges—both conceptual and methodological—that private archives pose to historical research. This observation is no mere esoteric exercise; many musician ...
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This chapter looks at the various challenges—both conceptual and methodological—that private archives pose to historical research. This observation is no mere esoteric exercise; many musician archivists explicitly situate their work as an intervention into historiographical processes—an intervention that mirrors the musician-run ethos of the lofts themselves. The chapter is divided into three sections that correspond to different storage media in the collection: audio tape, paper, and human memory. Each of these media carries particular affordances and limitations, and they converse with each other in interesting ways. Drawing from literature of the recent “archival turn” in the humanities, the chapter argues that engaging with these affordances is essential to understanding the role of the archive as a generative force in the writing of history.Less
This chapter looks at the various challenges—both conceptual and methodological—that private archives pose to historical research. This observation is no mere esoteric exercise; many musician archivists explicitly situate their work as an intervention into historiographical processes—an intervention that mirrors the musician-run ethos of the lofts themselves. The chapter is divided into three sections that correspond to different storage media in the collection: audio tape, paper, and human memory. Each of these media carries particular affordances and limitations, and they converse with each other in interesting ways. Drawing from literature of the recent “archival turn” in the humanities, the chapter argues that engaging with these affordances is essential to understanding the role of the archive as a generative force in the writing of history.
Birgitte Possing
- Published in print:
- 2015
- Published Online:
- May 2015
- ISBN:
- 9781781381373
- eISBN:
- 9781781384886
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781381373.003.0006
- Subject:
- Business and Management, Business History
Historical biography is an important public tool in understanding how historical and public personalities have an impact. The Western market is overwhelmed by biographical writing, in entertainment, ...
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Historical biography is an important public tool in understanding how historical and public personalities have an impact. The Western market is overwhelmed by biographical writing, in entertainment, business, media, literature, and history. Thus it has become important to understand how and why historical biographies influence our understanding, not only of history but also of the present and future. Which games is the biographer playing with the protagonists, and with the audience? What is the role of archives in the making of biographies? What is the relevance of private archives to societal cultural heritage? How are biographers using archives in representing the individualities, in celebrating or devastating the reputation of the protagonist and his/her work? This paper presents the eight archetypes of the historical biography, reflecting on the relevance of private archives in business, literature, and public institutions.Less
Historical biography is an important public tool in understanding how historical and public personalities have an impact. The Western market is overwhelmed by biographical writing, in entertainment, business, media, literature, and history. Thus it has become important to understand how and why historical biographies influence our understanding, not only of history but also of the present and future. Which games is the biographer playing with the protagonists, and with the audience? What is the role of archives in the making of biographies? What is the relevance of private archives to societal cultural heritage? How are biographers using archives in representing the individualities, in celebrating or devastating the reputation of the protagonist and his/her work? This paper presents the eight archetypes of the historical biography, reflecting on the relevance of private archives in business, literature, and public institutions.
Whitney Davis
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816648740
- eISBN:
- 9781452945972
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816648740.003.0011
- Subject:
- Film, Television and Radio, Film
This chapter focuses on Péter Forgács’s remarkable film Wittgenstein Tractatus (1992). The film endorses the particular capacity of film to re-view the world as seen (or found) by us: it is as much a ...
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This chapter focuses on Péter Forgács’s remarkable film Wittgenstein Tractatus (1992). The film endorses the particular capacity of film to re-view the world as seen (or found) by us: it is as much a filmic meditation on Wittgenstein’s thoughts about world picturing as it is a Wittgensteinian meditation on cinematic or other pictorializations of our knowledge of the world. As a collation of filmed footage, the film is an elusive montage of ordinary but often suggestive and unsettling images. Almost all of them were derived by Forgács in public collections and private archives in Hungary. They are accompanied by subtitles, voice-overs, and interleaved titles entirely drawn from writings by Wittgenstein. The film presents itself as an engagement with Wittgenstein’s Tractatus Logico-PhilosophicusLess
This chapter focuses on Péter Forgács’s remarkable film Wittgenstein Tractatus (1992). The film endorses the particular capacity of film to re-view the world as seen (or found) by us: it is as much a filmic meditation on Wittgenstein’s thoughts about world picturing as it is a Wittgensteinian meditation on cinematic or other pictorializations of our knowledge of the world. As a collation of filmed footage, the film is an elusive montage of ordinary but often suggestive and unsettling images. Almost all of them were derived by Forgács in public collections and private archives in Hungary. They are accompanied by subtitles, voice-overs, and interleaved titles entirely drawn from writings by Wittgenstein. The film presents itself as an engagement with Wittgenstein’s Tractatus Logico-Philosophicus
