Pub Date : 2021-04-03DOI: 10.1080/13642529.2021.1934290
Aled Davies, A. Seaton, Chika Tonooka, Jessica White
ABSTRACT Covid-19 disrupted the fabric of academic collaboration. Scholars cancelled or delayed in-person talks, seminars, and conferences in an effort to reduce transmission of the virus. In many instances, the academic profession turned to various online platforms to share ideas. What are the possible long-term consequences of this development? Drawing on the experience of organizing an online workshop for early career researchers in modern British history, this article argues that virtual seminars and conferences should become a permanent part of intellectual exchange. This article provides practical guidance to others seeking to establish similar projects within and beyond the historical profession. It uses survey material from workshop presenters and attendees to assess the challenges and merits of using online platforms, and then discusses their longer term significance. Despite some drawbacks in their operation, online platforms offer advantages that include widening participation and responding to the climate crisis. Virtual collaboration facilitates the participation of scholars normally excluded from central field discussions due to location, expense, or institutional status, and it also furthers global scholarly interactions without generating a significant carbon footprint. This article argues that rather than a temporary stop-gap during a pandemic, online seminars present new opportunities for the future of collaboration if embedded as part of a mix with of in-person events. In its conclusion, it presents five proposals for improving virtual collaboration in the future.
{"title":"Covid-19, online workshops, and the future of intellectual exchange","authors":"Aled Davies, A. Seaton, Chika Tonooka, Jessica White","doi":"10.1080/13642529.2021.1934290","DOIUrl":"https://doi.org/10.1080/13642529.2021.1934290","url":null,"abstract":"ABSTRACT Covid-19 disrupted the fabric of academic collaboration. Scholars cancelled or delayed in-person talks, seminars, and conferences in an effort to reduce transmission of the virus. In many instances, the academic profession turned to various online platforms to share ideas. What are the possible long-term consequences of this development? Drawing on the experience of organizing an online workshop for early career researchers in modern British history, this article argues that virtual seminars and conferences should become a permanent part of intellectual exchange. This article provides practical guidance to others seeking to establish similar projects within and beyond the historical profession. It uses survey material from workshop presenters and attendees to assess the challenges and merits of using online platforms, and then discusses their longer term significance. Despite some drawbacks in their operation, online platforms offer advantages that include widening participation and responding to the climate crisis. Virtual collaboration facilitates the participation of scholars normally excluded from central field discussions due to location, expense, or institutional status, and it also furthers global scholarly interactions without generating a significant carbon footprint. This article argues that rather than a temporary stop-gap during a pandemic, online seminars present new opportunities for the future of collaboration if embedded as part of a mix with of in-person events. In its conclusion, it presents five proposals for improving virtual collaboration in the future.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13642529.2021.1934290","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43523867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/13642529.2021.1928393
John R. Hodgson
ABSTRACT This article considers the potential for children’s drawings to be utilized more widely as documentary evidence by historians. Children remain seen but not heard in much of history, with a noted source problem hampering efforts to address this. Drawings are a different type of ambiguous evidence but there is a compelling case for their usage, partly demonstrated by various professional uses including the acceptance of children’s drawings as evidence in courts. This article analyses four boys’ drawings of aerial conflict from the Spanish Civil War which are powerful visual reminders of the toll of war on children and exemplify the communicative power of non-linguistic sources to a heavily textual discipline.
{"title":"Accessing children’s historical experiences through their art: four drawings of aerial warfare from the Spanish Civil War","authors":"John R. Hodgson","doi":"10.1080/13642529.2021.1928393","DOIUrl":"https://doi.org/10.1080/13642529.2021.1928393","url":null,"abstract":"ABSTRACT This article considers the potential for children’s drawings to be utilized more widely as documentary evidence by historians. Children remain seen but not heard in much of history, with a noted source problem hampering efforts to address this. Drawings are a different type of ambiguous evidence but there is a compelling case for their usage, partly demonstrated by various professional uses including the acceptance of children’s drawings as evidence in courts. This article analyses four boys’ drawings of aerial conflict from the Spanish Civil War which are powerful visual reminders of the toll of war on children and exemplify the communicative power of non-linguistic sources to a heavily textual discipline.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13642529.2021.1928393","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45229404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/13642529.2021.1928392
Emma Shaw, D. Donnelly
ABSTRACT Family history research has become one of the most popular pastimes in the world due to digital advances and the resulting democratization of historical records. For many, family history research is a heuristic in which to make empathetic connections with their ancestors they will never (and can never) meet due to the barriers of temporal, geographical and intergenerational distance. The resulting family histories reconstruct and re-tell social history through the micro-historical lens of the individual. It has been claimed that this intimate connection between researchers and their familial narrative can heighten empathetic responses and lead to interpretations and assumptions beyond the evidence. This paper examines this proposition by analyzing qualitative data drawn from a large survey that examined the beliefs and practices of Australian family historians. The data supported their use of historical imagination as a catalyst for historical interpretation and meaning-making, and the well-established Ashby and Lee’s (1987) stages of historical empathy was used to gauge depth of understanding. The research concludes that for many family history researchers, micro-narratives of their ancestors evoked a wide range of empathetic responses ranging from the elementary to the nuanced and sophisticated.
{"title":"Micro-narratives of the ancestors: worship, censure, and empathy in family hi(stories)","authors":"Emma Shaw, D. Donnelly","doi":"10.1080/13642529.2021.1928392","DOIUrl":"https://doi.org/10.1080/13642529.2021.1928392","url":null,"abstract":"ABSTRACT Family history research has become one of the most popular pastimes in the world due to digital advances and the resulting democratization of historical records. For many, family history research is a heuristic in which to make empathetic connections with their ancestors they will never (and can never) meet due to the barriers of temporal, geographical and intergenerational distance. The resulting family histories reconstruct and re-tell social history through the micro-historical lens of the individual. It has been claimed that this intimate connection between researchers and their familial narrative can heighten empathetic responses and lead to interpretations and assumptions beyond the evidence. This paper examines this proposition by analyzing qualitative data drawn from a large survey that examined the beliefs and practices of Australian family historians. The data supported their use of historical imagination as a catalyst for historical interpretation and meaning-making, and the well-established Ashby and Lee’s (1987) stages of historical empathy was used to gauge depth of understanding. The research concludes that for many family history researchers, micro-narratives of their ancestors evoked a wide range of empathetic responses ranging from the elementary to the nuanced and sophisticated.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13642529.2021.1928392","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48947514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/13642529.2021.1911445
Cui Chen, Fuying Shen
ABSTRACT This article examines how historiographic metafiction challenges traditional narratives of history. The author argues that subverting conventions of narrating the past through irony and a plurality of truths, Quentin Tarantino’s Inglourious Basterds (2009) can be regarded as historiographic metafiction. Its narratives of the past challenge the traditional History, provide alternate ways of telling history and invite a more meaningful cognitive engagement with history. To explore how the Americanization of the Holocaust sheds light on American racism, the author focuses on the figure of the savage Native American in the film and examines how Native Americans are brought into play through a plot that mixes up the histories of American settlers, African-Americans, Jews, Frenchmen, Germans and Italians and how the film screens Native Americans in the sight of psychoanalytic theorist Kaja Silverman’s terms of the look, the screen, and the gaze. I argue that the screening of savage Native Americans is in a constant process of renewal and the image of Native Americans is ironic rather than simply stereotypical, which contests dominant Hollywood representations of Native Americans either as ignoble savage or noble savage and reveals unheeded history.
{"title":"Unheeded history: screening savage native Americans in Quentin Tarantino’s Inglourious Basterds","authors":"Cui Chen, Fuying Shen","doi":"10.1080/13642529.2021.1911445","DOIUrl":"https://doi.org/10.1080/13642529.2021.1911445","url":null,"abstract":"ABSTRACT This article examines how historiographic metafiction challenges traditional narratives of history. The author argues that subverting conventions of narrating the past through irony and a plurality of truths, Quentin Tarantino’s Inglourious Basterds (2009) can be regarded as historiographic metafiction. Its narratives of the past challenge the traditional History, provide alternate ways of telling history and invite a more meaningful cognitive engagement with history. To explore how the Americanization of the Holocaust sheds light on American racism, the author focuses on the figure of the savage Native American in the film and examines how Native Americans are brought into play through a plot that mixes up the histories of American settlers, African-Americans, Jews, Frenchmen, Germans and Italians and how the film screens Native Americans in the sight of psychoanalytic theorist Kaja Silverman’s terms of the look, the screen, and the gaze. I argue that the screening of savage Native Americans is in a constant process of renewal and the image of Native Americans is ironic rather than simply stereotypical, which contests dominant Hollywood representations of Native Americans either as ignoble savage or noble savage and reveals unheeded history.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13642529.2021.1911445","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45400972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/13642529.2021.1928971
Lidia Peralta García
ABSTRACT Since the early 2000s, Moroccan cinema has reflected on the period of intense political repression during the rule of King Hassan II, known as the Years of Lead. Running from the 1960s through the 1980s, this period of contemporary Moroccan history was characterised by huge violations of human rights against democracy activists. One of the key features of Hassan II’s repressive policy was a network of secret prisons. In this article, I explore how prison has been represented in a group of 18 historical films produced from the year 2000 through to 2018. The theoretical approach connects concepts from cinema theories to wider questions of historical representation and film. By conducting interviews with eleven Moroccan filmmakers, two actors and two scriptwriters, and by accessing contextual and narrative analysis of the films, I aim to understand the construction of political suffering onscreen. The findings confirm that the prison as filmic icon pervades most of the films in ways that connect the plot with an inherited fear that overwhelms the main characters; fear at the prospect of imprisonment, fear deriving from the experience of actually being in prison, and fear that develops in the aftermath of having been imprisoned.
{"title":"Latent and manifest filmic narration: prison as a visual icon and the representation of political repression during the Years of Lead in Moroccan cinema (2000–2018)","authors":"Lidia Peralta García","doi":"10.1080/13642529.2021.1928971","DOIUrl":"https://doi.org/10.1080/13642529.2021.1928971","url":null,"abstract":"ABSTRACT Since the early 2000s, Moroccan cinema has reflected on the period of intense political repression during the rule of King Hassan II, known as the Years of Lead. Running from the 1960s through the 1980s, this period of contemporary Moroccan history was characterised by huge violations of human rights against democracy activists. One of the key features of Hassan II’s repressive policy was a network of secret prisons. In this article, I explore how prison has been represented in a group of 18 historical films produced from the year 2000 through to 2018. The theoretical approach connects concepts from cinema theories to wider questions of historical representation and film. By conducting interviews with eleven Moroccan filmmakers, two actors and two scriptwriters, and by accessing contextual and narrative analysis of the films, I aim to understand the construction of political suffering onscreen. The findings confirm that the prison as filmic icon pervades most of the films in ways that connect the plot with an inherited fear that overwhelms the main characters; fear at the prospect of imprisonment, fear deriving from the experience of actually being in prison, and fear that develops in the aftermath of having been imprisoned.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13642529.2021.1928971","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44660028","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-15DOI: 10.1080/13642529.2021.1882125
M. Ertsen
If I would have been on time with this review, I could not have included much of 2020. No mention of COVID-19 raging through the world. No reference to a sitting president refusing to accept electi...
{"title":"Being late in the present to experience unprecedented times: time and history","authors":"M. Ertsen","doi":"10.1080/13642529.2021.1882125","DOIUrl":"https://doi.org/10.1080/13642529.2021.1882125","url":null,"abstract":"If I would have been on time with this review, I could not have included much of 2020. No mention of COVID-19 raging through the world. No reference to a sitting president refusing to accept electi...","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13642529.2021.1882125","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48392504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-12DOI: 10.1080/13642529.2020.1847896
Torbjörn Gustafsson Chorell
ABSTRACT Among non-verbal motivating aspects of knowledge production, the modes of attention we name wonder, curiosity and fascination stand out. These different modes of attention are sometimes closely intertwined but can still be fruitfully analyzed as three distinct ways in which we encounter and approach objects that attract us or that we want to gain insight into. Wonder, curiosity and fascination will initiate different questions and direct toward various conclusions such as contemplation, causality and reminding. Awareness of which mode of attention one is performing when doing historical work will influence the kind of history one ultimately presents.
{"title":"Modes of historical attention: wonder, curiosity, fascination","authors":"Torbjörn Gustafsson Chorell","doi":"10.1080/13642529.2020.1847896","DOIUrl":"https://doi.org/10.1080/13642529.2020.1847896","url":null,"abstract":"ABSTRACT Among non-verbal motivating aspects of knowledge production, the modes of attention we name wonder, curiosity and fascination stand out. These different modes of attention are sometimes closely intertwined but can still be fruitfully analyzed as three distinct ways in which we encounter and approach objects that attract us or that we want to gain insight into. Wonder, curiosity and fascination will initiate different questions and direct toward various conclusions such as contemplation, causality and reminding. Awareness of which mode of attention one is performing when doing historical work will influence the kind of history one ultimately presents.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13642529.2020.1847896","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47805943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13642529.2020.1847842
Nadia Meneghello
ABSTRACT The purpose of a film treatment is to convince the reader of a cinematic story and the potential for the film to reach a broad audience. The treatment is a prose summary of the story as it plays out, in a compressed form, and is a process of screenwriting. It ensures the story is coherent and its meaning is made clear by conveying a sense of screenwriting conventions. Specifically, for the genre of historical drama, the poetics of a film treatment will encapsulate a blend of verifiable facts and creative solutions that contribute to the understanding of the past. Screenwriters, by way of empathetic and informed speculation, bridge the gap between epistemology and imagination to capture the hearts and minds of the audience. In 1902, a brilliant engineer’s emotions are at breaking point in the final days of his life as he struggles to defend himself against false allegations of corruption and incompetence levelled at him by parliament and the press. This is the ‘true’ story of the Coolgardie Water Supply Scheme, in Western Australia, encompassing the longest water pipeline in the world, but events conspire against the Engineer-in-Chief, Mr C.Y. O’Connor, leading to his tragic death.
{"title":"A process of screenwriting: a film treatment for ‘the Engineer-in-Chief’","authors":"Nadia Meneghello","doi":"10.1080/13642529.2020.1847842","DOIUrl":"https://doi.org/10.1080/13642529.2020.1847842","url":null,"abstract":"ABSTRACT The purpose of a film treatment is to convince the reader of a cinematic story and the potential for the film to reach a broad audience. The treatment is a prose summary of the story as it plays out, in a compressed form, and is a process of screenwriting. It ensures the story is coherent and its meaning is made clear by conveying a sense of screenwriting conventions. Specifically, for the genre of historical drama, the poetics of a film treatment will encapsulate a blend of verifiable facts and creative solutions that contribute to the understanding of the past. Screenwriters, by way of empathetic and informed speculation, bridge the gap between epistemology and imagination to capture the hearts and minds of the audience. In 1902, a brilliant engineer’s emotions are at breaking point in the final days of his life as he struggles to defend himself against false allegations of corruption and incompetence levelled at him by parliament and the press. This is the ‘true’ story of the Coolgardie Water Supply Scheme, in Western Australia, encompassing the longest water pipeline in the world, but events conspire against the Engineer-in-Chief, Mr C.Y. O’Connor, leading to his tragic death.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13642529.2020.1847842","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45533096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13642529.2020.1831279
Michael Menor Salgarolo
ABSTRACT In this essay, I present a long history of St. Malo, Louisiana, revealing the ways in which the site’s social, cultural, and physical landscape has been shaped and unmade by the forces of slavery, colonialism, and racial capitalism. St. Malo is a remote area in the coastal wetlands thirty miles south of New Orleans that was home to a fishing village built by Filipino sailors in the mid-nineteenth century. I introduce readers to St. Malo as a historical setting by narrating an encounter between two journalists and the Filipinos of St. Malo in 1883. Then, I trace the forces and networks that brought Filipino sailors to Louisiana in the nineteenth century, situating this movement within a larger history of freedom and unfreedom in the Atlantic World. Finally, I describe my own personal journey to the site of St. Malo in 2019, reflecting on the tensions between local communities’ efforts to preserve the site’s history and the ongoing erasure of the site due to the anthropogenic destruction of Louisiana’s coastal wetlands.
{"title":"Journeys to St. Malo: a history of Filipino Louisiana","authors":"Michael Menor Salgarolo","doi":"10.1080/13642529.2020.1831279","DOIUrl":"https://doi.org/10.1080/13642529.2020.1831279","url":null,"abstract":"ABSTRACT In this essay, I present a long history of St. Malo, Louisiana, revealing the ways in which the site’s social, cultural, and physical landscape has been shaped and unmade by the forces of slavery, colonialism, and racial capitalism. St. Malo is a remote area in the coastal wetlands thirty miles south of New Orleans that was home to a fishing village built by Filipino sailors in the mid-nineteenth century. I introduce readers to St. Malo as a historical setting by narrating an encounter between two journalists and the Filipinos of St. Malo in 1883. Then, I trace the forces and networks that brought Filipino sailors to Louisiana in the nineteenth century, situating this movement within a larger history of freedom and unfreedom in the Atlantic World. Finally, I describe my own personal journey to the site of St. Malo in 2019, reflecting on the tensions between local communities’ efforts to preserve the site’s history and the ongoing erasure of the site due to the anthropogenic destruction of Louisiana’s coastal wetlands.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13642529.2020.1831279","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48444315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13642529.2020.1793529
R. Kaufman
ABSTRACT How can the poetic line translate history? In this article, I trace the methods of translation and transmission that accompanied my writing of an archival poetry collection. Immersed in Mexican Inquisition documents and crypto-Jewish oral histories of the Southwest, the collection interrogates questions of genre, form, empathy, and memory. I argue that historical poetry can foreground the materiality of history, embrace the sensual and strange, and hold at once conflicting narratives of the archive. Poetry’s ability to evade coherence and preserve simultaneities allows the ambiguities of history to surface, mythologies intact. The archival poem brings to bear the rhythms of the past through the language of the present.
{"title":"Translating History","authors":"R. Kaufman","doi":"10.1080/13642529.2020.1793529","DOIUrl":"https://doi.org/10.1080/13642529.2020.1793529","url":null,"abstract":"ABSTRACT How can the poetic line translate history? In this article, I trace the methods of translation and transmission that accompanied my writing of an archival poetry collection. Immersed in Mexican Inquisition documents and crypto-Jewish oral histories of the Southwest, the collection interrogates questions of genre, form, empathy, and memory. I argue that historical poetry can foreground the materiality of history, embrace the sensual and strange, and hold at once conflicting narratives of the archive. Poetry’s ability to evade coherence and preserve simultaneities allows the ambiguities of history to surface, mythologies intact. The archival poem brings to bear the rhythms of the past through the language of the present.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13642529.2020.1793529","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42919054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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