Pub Date : 2023-05-08DOI: 10.1080/13642529.2023.2210390
Nadia Meneghello
ABSTRACT This paper contains a case study of original creative historical screenwriting and its theoretical underpinnings. The creative writing component visualises the ‘true’ story of the Coolgardie Water Supply Scheme under construction in 1902 in Western Australia. It functions as an additional ‘layer’ to my previously published paper, ‘A Process of Screenwriting: A Film Treatment for “The Engineer-in-Chief”’, (Meneghello, Rethinking History, 2021). The theoretical component explores my own creative process of writing an artwork history as a filmic and poetic interpretation of history containing emotional subtextual meanings. I ask the question: How can archival richness and complexity be communicated in screenwriting beyond the restrictive form of the ‘script’? The aim of the essay is to describe how pursuing creative historical research has led me into screenwriting innovation. I do this by synthesising screenwriting theory and practice to consider how the film treatment is an underestimated tool of script development. I draw on the field of artwork history, incorporating the metaphor and imagery of the ‘archaeological gaze’ and cardiovascular biomechanics to bridge the gap between creative historical writing and screenwriting innovation. Drawing on Indigenous Studies, I show how my innovation honours both the collaborative dimensions of filmmaking as well as the importance of including absent and diverse voices from the historical record. This interdisciplinary framework supports the argument I make for conceptualising the film treatment in the form of ‘layers’. This new approach to screenwriting is particularly useful for researchers to test and experiment how facts can be translated using visual imagery and literary techniques into a cinematic rendering of a ‘true story’. My creative research thus has implications for the fields of both artwork history and screenwriting by enhancing the traditional screenplay format, and also contributes to historiography through the generation of new insights into how form shapes content and meaning.
{"title":"A film treatment in ‘Layers’: a new approach to creative historical writing through screenwriting innovation","authors":"Nadia Meneghello","doi":"10.1080/13642529.2023.2210390","DOIUrl":"https://doi.org/10.1080/13642529.2023.2210390","url":null,"abstract":"ABSTRACT This paper contains a case study of original creative historical screenwriting and its theoretical underpinnings. The creative writing component visualises the ‘true’ story of the Coolgardie Water Supply Scheme under construction in 1902 in Western Australia. It functions as an additional ‘layer’ to my previously published paper, ‘A Process of Screenwriting: A Film Treatment for “The Engineer-in-Chief”’, (Meneghello, Rethinking History, 2021). The theoretical component explores my own creative process of writing an artwork history as a filmic and poetic interpretation of history containing emotional subtextual meanings. I ask the question: How can archival richness and complexity be communicated in screenwriting beyond the restrictive form of the ‘script’? The aim of the essay is to describe how pursuing creative historical research has led me into screenwriting innovation. I do this by synthesising screenwriting theory and practice to consider how the film treatment is an underestimated tool of script development. I draw on the field of artwork history, incorporating the metaphor and imagery of the ‘archaeological gaze’ and cardiovascular biomechanics to bridge the gap between creative historical writing and screenwriting innovation. Drawing on Indigenous Studies, I show how my innovation honours both the collaborative dimensions of filmmaking as well as the importance of including absent and diverse voices from the historical record. This interdisciplinary framework supports the argument I make for conceptualising the film treatment in the form of ‘layers’. This new approach to screenwriting is particularly useful for researchers to test and experiment how facts can be translated using visual imagery and literary techniques into a cinematic rendering of a ‘true story’. My creative research thus has implications for the fields of both artwork history and screenwriting by enhancing the traditional screenplay format, and also contributes to historiography through the generation of new insights into how form shapes content and meaning.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45554885","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 : 2023-05-07DOI: 10.1080/13642529.2023.2210377
Esin Paça Cengiz
ABSTRACT In film scholarship, historical film has been identified as a form that portrays events and experiences that took place in the past. By building on Caruth’s concept of indirect representation, however, this article identifies a new historical film form that is not necessarily set in the past, but engages with questions regarding history, memory and historical representation. It conceptualizes this new form of ‘historical essay film’, and by analysing Voice of My Father, argues that rather than manifesting a desire to represent traumatic events directly, historical essay films refrain from the presumption that the medium of film can represent the reality of past events. To this end, they engage with past traumas indirectly through narratives that are set in the present day. The study further contends that the main thrust of historical essay films is to probe the discursive fields in which certain moments of the past are fixed, narrated and become predominant while others remain overlooked and unaccounted for. The article concludes with the claim that, as a consequence of their unconventional formal structures, historical essay films diminish the temporal distance between the past, present and future while also opening up new possibilities for rethinking what historical representation means.
{"title":"Rethinking the historical film form: trauma, temporality and indirect representation in historical essay films","authors":"Esin Paça Cengiz","doi":"10.1080/13642529.2023.2210377","DOIUrl":"https://doi.org/10.1080/13642529.2023.2210377","url":null,"abstract":"ABSTRACT In film scholarship, historical film has been identified as a form that portrays events and experiences that took place in the past. By building on Caruth’s concept of indirect representation, however, this article identifies a new historical film form that is not necessarily set in the past, but engages with questions regarding history, memory and historical representation. It conceptualizes this new form of ‘historical essay film’, and by analysing Voice of My Father, argues that rather than manifesting a desire to represent traumatic events directly, historical essay films refrain from the presumption that the medium of film can represent the reality of past events. To this end, they engage with past traumas indirectly through narratives that are set in the present day. The study further contends that the main thrust of historical essay films is to probe the discursive fields in which certain moments of the past are fixed, narrated and become predominant while others remain overlooked and unaccounted for. The article concludes with the claim that, as a consequence of their unconventional formal structures, historical essay films diminish the temporal distance between the past, present and future while also opening up new possibilities for rethinking what historical representation means.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44887501","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 : 2023-04-03DOI: 10.1080/13642529.2023.2184966
Catherine Hahn
ABSTRACT Today the British Museum (BM) entranceway consecrates imperialism and patronage. Undertaken as a journey, this paper reclaims its invisible female, queer and black legacies. In recent years there has been widespread acknowledgement that the BM needs to address its role in the British Empire. Yet, in the twenty-first century, the museum has shored up its imperial inheritance through its refurbished entranceway: the Weston Great Hall and Queen Elizabeth II Great Court. In these introductory chambers, imperialism provides the backdrop for the contemporary donors’ names and exclusive corporate events. Here, museum heritage has become an arrow that signals progress through economic capital. I argue that the BM’s reinforcement of its imperial legacy in the twenty-first century has come at the expense of other claims. Exploration of the historic entranceway shows it facilitated visitors’ long-term engagement through artmaking on-site and the (now closed) Reading Room. Female, queer and black participants undertook creative, transgressive and political activities that led to social change. Anne Seymour Damer, Joel Augustus Rogers and Virginia Woolf developed practices that have particular significance for the museum. Reclaiming hidden female, queer and black legacies in the entranceway points to future inclusions. Importantly, these reclaimed histories are not quiet, counter moments pulled from the corners of the BM’s vast estate; rather, they once took centre stage.
{"title":"Reclaiming History in the British Museum entranceway: imperialism, patronage and female, queer and black legacies","authors":"Catherine Hahn","doi":"10.1080/13642529.2023.2184966","DOIUrl":"https://doi.org/10.1080/13642529.2023.2184966","url":null,"abstract":"ABSTRACT Today the British Museum (BM) entranceway consecrates imperialism and patronage. Undertaken as a journey, this paper reclaims its invisible female, queer and black legacies. In recent years there has been widespread acknowledgement that the BM needs to address its role in the British Empire. Yet, in the twenty-first century, the museum has shored up its imperial inheritance through its refurbished entranceway: the Weston Great Hall and Queen Elizabeth II Great Court. In these introductory chambers, imperialism provides the backdrop for the contemporary donors’ names and exclusive corporate events. Here, museum heritage has become an arrow that signals progress through economic capital. I argue that the BM’s reinforcement of its imperial legacy in the twenty-first century has come at the expense of other claims. Exploration of the historic entranceway shows it facilitated visitors’ long-term engagement through artmaking on-site and the (now closed) Reading Room. Female, queer and black participants undertook creative, transgressive and political activities that led to social change. Anne Seymour Damer, Joel Augustus Rogers and Virginia Woolf developed practices that have particular significance for the museum. Reclaiming hidden female, queer and black legacies in the entranceway points to future inclusions. Importantly, these reclaimed histories are not quiet, counter moments pulled from the corners of the BM’s vast estate; rather, they once took centre stage.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46497448","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 : 2023-04-03DOI: 10.1080/13642529.2023.2203012
Ayesha Rafiq
ABSTRACT This paper is a comparative analysis of three nineteenth-century British novels – The Surgeon’s Daughter (1827) by Walter Scott; Tippoo Sultan: A Tale of the Mysore War (1840) by Philip Meadows Taylor; and The Tiger of Mysore (1895) by G.A. Henty – all of which feature Tipu Sultan, the Muslim ruler of the south Indian kingdom of Mysore, who used the tiger as his personal emblem, and was killed by the British and their allies on 4 May 1799. Previous scholarship on Tipu has mainly focused on the rationale behind his adoption of the tiger as his personal insignia which, among other things, stood for his fierce independence and military acumen. However, there is little discussion of the representation of Tipu’s tiger as an emblem in the literary tradition of the colonial power at that time or as an implied justification of its political ventures in the south of India reflected in the novels written after his death. This paper argues that these British novels subvert the emblematic significance of Tipu’s tiger through the use of tiger imagery, whose main thrust is to synonymize the savagery of the Indian tiger with the rulership of Tipu. To damage Tipu’s legacy, the tiger is portrayed both as formidable, with a morbid thirst for blood, and as vulnerable and weak. The study focuses on these variations, and suggests that Tipu’s fluctuating fictional images are influenced by the shifting British attitudes towards the Sultan during different periods of the East India Company’s rule. These novels were statements within the larger discourse of colonization whose enunciative context contributed to the process that reinforced Tipu’s status as a distinct menace to be solved by the colonial conquest.
{"title":"How the fictional representation of historical characters can serve to justify historical events and actions: Tipu Sultan’s Tiger","authors":"Ayesha Rafiq","doi":"10.1080/13642529.2023.2203012","DOIUrl":"https://doi.org/10.1080/13642529.2023.2203012","url":null,"abstract":"ABSTRACT This paper is a comparative analysis of three nineteenth-century British novels – The Surgeon’s Daughter (1827) by Walter Scott; Tippoo Sultan: A Tale of the Mysore War (1840) by Philip Meadows Taylor; and The Tiger of Mysore (1895) by G.A. Henty – all of which feature Tipu Sultan, the Muslim ruler of the south Indian kingdom of Mysore, who used the tiger as his personal emblem, and was killed by the British and their allies on 4 May 1799. Previous scholarship on Tipu has mainly focused on the rationale behind his adoption of the tiger as his personal insignia which, among other things, stood for his fierce independence and military acumen. However, there is little discussion of the representation of Tipu’s tiger as an emblem in the literary tradition of the colonial power at that time or as an implied justification of its political ventures in the south of India reflected in the novels written after his death. This paper argues that these British novels subvert the emblematic significance of Tipu’s tiger through the use of tiger imagery, whose main thrust is to synonymize the savagery of the Indian tiger with the rulership of Tipu. To damage Tipu’s legacy, the tiger is portrayed both as formidable, with a morbid thirst for blood, and as vulnerable and weak. The study focuses on these variations, and suggests that Tipu’s fluctuating fictional images are influenced by the shifting British attitudes towards the Sultan during different periods of the East India Company’s rule. These novels were statements within the larger discourse of colonization whose enunciative context contributed to the process that reinforced Tipu’s status as a distinct menace to be solved by the colonial conquest.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46680027","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 : 2023-04-03DOI: 10.1080/13642529.2023.2206727
Scotto Ma
ABSTRACT This article compares two recent expositions held in Nagasaki, Japan, in 1990 and 2006. Both expositions responded to structural economic changes related to deindustrialization that prompted reidentifications with the city’s history as a maritime trade hub in early modern Japan. To compare two temporally laced identities that emerged from this turning point, I distinguish each exposition’s dominant chronotope. The 1990 Journey Exposition is characterized by Tabi (Journey)-time, which departs from a distant past to transit through a disappearing present towards a utopian future where Nagasaki has once again become an international port. The 2006 Saruku Expo is characterized by Saruku (Strolling)-time, which introspectively rediscovers Nagasaki’s local heritage within the present while imagining a changeless future, erasing the temporal divisions formative of Tabi-time. If Tabi-time is national time derived from national expositions, Saruku-time is local time derived from heritage and memory. These chronotopes are characterized by different arrangements of exposition grounds and different mobilities that visitors were expected to perform on their fairgrounds. The Journey Exposition spatially delineated Nagasaki into future and past zones, whereas the Saruku Expo featured a series of wandering strolls that drew no clear temporal boundaries. Visitors in Tabi-time engaged in epic, romantic voyages across national borders, whereas visitors in Saruku-time displaced themselves locally in an inquisitive, slow-paced manner. The article draws from exposition documents like guides and official records as well as a local town magazine to argue that the formal organization of time can be practically utilized for economic and identity-building purposes as well as politically contested between different parties. It also develops recent scholarship in Theory of History such as Hayden White’s concept of the ‘practical past’ and recent theorizations on the disorder of postmodern time.
{"title":"Global history in two chronotopes: time, identity and the practical past in Nagasaki, Japan, 1990 and 2006","authors":"Scotto Ma","doi":"10.1080/13642529.2023.2206727","DOIUrl":"https://doi.org/10.1080/13642529.2023.2206727","url":null,"abstract":"ABSTRACT This article compares two recent expositions held in Nagasaki, Japan, in 1990 and 2006. Both expositions responded to structural economic changes related to deindustrialization that prompted reidentifications with the city’s history as a maritime trade hub in early modern Japan. To compare two temporally laced identities that emerged from this turning point, I distinguish each exposition’s dominant chronotope. The 1990 Journey Exposition is characterized by Tabi (Journey)-time, which departs from a distant past to transit through a disappearing present towards a utopian future where Nagasaki has once again become an international port. The 2006 Saruku Expo is characterized by Saruku (Strolling)-time, which introspectively rediscovers Nagasaki’s local heritage within the present while imagining a changeless future, erasing the temporal divisions formative of Tabi-time. If Tabi-time is national time derived from national expositions, Saruku-time is local time derived from heritage and memory. These chronotopes are characterized by different arrangements of exposition grounds and different mobilities that visitors were expected to perform on their fairgrounds. The Journey Exposition spatially delineated Nagasaki into future and past zones, whereas the Saruku Expo featured a series of wandering strolls that drew no clear temporal boundaries. Visitors in Tabi-time engaged in epic, romantic voyages across national borders, whereas visitors in Saruku-time displaced themselves locally in an inquisitive, slow-paced manner. The article draws from exposition documents like guides and official records as well as a local town magazine to argue that the formal organization of time can be practically utilized for economic and identity-building purposes as well as politically contested between different parties. It also develops recent scholarship in Theory of History such as Hayden White’s concept of the ‘practical past’ and recent theorizations on the disorder of postmodern time.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49424487","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 : 2023-04-03DOI: 10.1080/13642529.2023.2203003
Theodoros Pelekanidis, Ferraz Felippe Eduardo
ABSTRACT The paper discusses the significance new forms of literary narration can have on the representation of groundbreaking historical events. Based initially on Hayden White’s work and his term modernist event, we argue that new kinds of events need new ways of writing history. However, neither has White given any concrete persuasive examples of how his paradigmatic historical work might look like nor have his critics given enough attention to his considerations on the matter. By focusing our analysis on Svetlana Alexievich’s literary work and specifically on her book Voices from Chernobyl, we try to achieve exactly this: to analyze the innovative literary features that Alexievich develops in the testimonial narratives she builds and to highlight the importance they have for representing the past. For this purpose, we take a closer look at the thematic connection of the testimonies and the sense of non-linearity they create; comment on her success to approach in this way the ‘unseen event’ and bring the reader closer to the horrific and confusing reality that the witnesses describe; and show how literary techniques like the use of parataxis can efficiently grasp and mediate the differences in the temporal scale of hard-to-comprehend historical events and their consequences. Especially examining how Alexievich deals with this temporal particularity in her narrative, the paper suggests new ways to deal with the complex temporalities and discontinuities that go beyond modern historical thinking.
{"title":"Grasping the scale of events: Voices from Chernobyl between the historical and the monumental","authors":"Theodoros Pelekanidis, Ferraz Felippe Eduardo","doi":"10.1080/13642529.2023.2203003","DOIUrl":"https://doi.org/10.1080/13642529.2023.2203003","url":null,"abstract":"ABSTRACT The paper discusses the significance new forms of literary narration can have on the representation of groundbreaking historical events. Based initially on Hayden White’s work and his term modernist event, we argue that new kinds of events need new ways of writing history. However, neither has White given any concrete persuasive examples of how his paradigmatic historical work might look like nor have his critics given enough attention to his considerations on the matter. By focusing our analysis on Svetlana Alexievich’s literary work and specifically on her book Voices from Chernobyl, we try to achieve exactly this: to analyze the innovative literary features that Alexievich develops in the testimonial narratives she builds and to highlight the importance they have for representing the past. For this purpose, we take a closer look at the thematic connection of the testimonies and the sense of non-linearity they create; comment on her success to approach in this way the ‘unseen event’ and bring the reader closer to the horrific and confusing reality that the witnesses describe; and show how literary techniques like the use of parataxis can efficiently grasp and mediate the differences in the temporal scale of hard-to-comprehend historical events and their consequences. Especially examining how Alexievich deals with this temporal particularity in her narrative, the paper suggests new ways to deal with the complex temporalities and discontinuities that go beyond modern historical thinking.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41919991","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}
ABSTRACT Digital technologies are revolutionizing the way we study and understand history. Historical sources and material evidence are increasingly being transformed into digital objects and integrated into larger databases, offering new ways of researching history in the digital age. This article reviews dominant practices that deal with new forms of historiography. It does so by offering digital curatorial practices and outlines a new methodological concept of digital visual history. For that purpose, the article explores a particularly challenging test case of historical visual sources, which not only had a lasting effect on the collective historical imagination but has also increasingly turned digital: the difficult visual heritage of the Holocaust. Highlighting significant aspects of the afterlife of these visual sources, the article uses as an example the digital infrastructure developed in the framework of the EU Horizon 2020 project ‘Visual History of the Holocaust: Rethinking Curation in the Digital Age’ (VHH) (2019–2023) that aims at (re)contextualizing Allied atrocity records as relational and migrating images. In doing so, the article demonstrates how, through the combination of historiographic practices of curation and digital technologies, the visual heritage of past events is revealed as dynamic and interconnected.
{"title":"Digital visual history: historiographic curation using digital technologies","authors":"Tobias Ebbrecht-Hartmann, Noga Stiassny, Lital Henig","doi":"10.1080/13642529.2023.2181534","DOIUrl":"https://doi.org/10.1080/13642529.2023.2181534","url":null,"abstract":"ABSTRACT Digital technologies are revolutionizing the way we study and understand history. Historical sources and material evidence are increasingly being transformed into digital objects and integrated into larger databases, offering new ways of researching history in the digital age. This article reviews dominant practices that deal with new forms of historiography. It does so by offering digital curatorial practices and outlines a new methodological concept of digital visual history. For that purpose, the article explores a particularly challenging test case of historical visual sources, which not only had a lasting effect on the collective historical imagination but has also increasingly turned digital: the difficult visual heritage of the Holocaust. Highlighting significant aspects of the afterlife of these visual sources, the article uses as an example the digital infrastructure developed in the framework of the EU Horizon 2020 project ‘Visual History of the Holocaust: Rethinking Curation in the Digital Age’ (VHH) (2019–2023) that aims at (re)contextualizing Allied atrocity records as relational and migrating images. In doing so, the article demonstrates how, through the combination of historiographic practices of curation and digital technologies, the visual heritage of past events is revealed as dynamic and interconnected.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45527178","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 : 2023-03-12DOI: 10.1080/13642529.2023.2184974
Daniel Alsarve
ABSTRACT In this article, the focus is on a theoretical discussion about how to analyse masculinities and power in historical research based on imagery and visual sources from a material-discursive point of departure. The argument is that analysing photographs in sport and the material-discursive representation of men/masculinities could contribute to a broader understanding of men’s hegemony. The article adds to the field of visual literacy and connects research on visual materials, sports history and critical gender studies. The past of Swedish ice hockey constitutes the case, while the understanding of men/masculinities departs from research by Jeff Hearn, Raewyn Connell and other scholars within the critical studies on men and masculinities field. Using four specific photographs from the Swedish magazine Hockey, the analysis exemplifies how their materiality and discursivity relate to a broader cultural context of the hegemony of men and masculinities. For example, cultural dominance strategies, visual techniques that ‘activate’ a photographed (or objectified) male subject and entitlement are discussed, and how these include discursive and material meanings of masculinity, status, and domination and how such embodiments interconnect with a contextual configuration of the dominant hegemony of men.
{"title":"Photography, sport and the hegemony of men: a material(-)discursive perspective","authors":"Daniel Alsarve","doi":"10.1080/13642529.2023.2184974","DOIUrl":"https://doi.org/10.1080/13642529.2023.2184974","url":null,"abstract":"ABSTRACT In this article, the focus is on a theoretical discussion about how to analyse masculinities and power in historical research based on imagery and visual sources from a material-discursive point of departure. The argument is that analysing photographs in sport and the material-discursive representation of men/masculinities could contribute to a broader understanding of men’s hegemony. The article adds to the field of visual literacy and connects research on visual materials, sports history and critical gender studies. The past of Swedish ice hockey constitutes the case, while the understanding of men/masculinities departs from research by Jeff Hearn, Raewyn Connell and other scholars within the critical studies on men and masculinities field. Using four specific photographs from the Swedish magazine Hockey, the analysis exemplifies how their materiality and discursivity relate to a broader cultural context of the hegemony of men and masculinities. For example, cultural dominance strategies, visual techniques that ‘activate’ a photographed (or objectified) male subject and entitlement are discussed, and how these include discursive and material meanings of masculinity, status, and domination and how such embodiments interconnect with a contextual configuration of the dominant hegemony of men.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46048575","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 : 2023-03-09DOI: 10.1080/13642529.2023.2184969
N. Basaraba, Thomas Cauvin
ABSTRACT Histories of events can be told from multiple perspectives, and there is rarely just one linear narrative or a single interpretation of the past. This paper takes an interdisciplinary approach to explain how the concept of shared authority in public history can be applied to transmedia storytelling, in the context of media studies, to address conflicting narratives on historical events. Transmedia narratives allow for more opportunities to target different audiences and offer alternatives, and perhaps conflicting interpretations, to official mainstream interpretations of historical events. This is achieved through three primary methods of public participation in the development of conflicting narratives which can be presented through a variety of different media. The theoretical challenges in sharing authority of transmedia narrative creation with different publics ranges from strong to little control (i.e. radical trust). Thus, we discuss a series of methodologies that can be strategically used in future research projects that wish to share authority with different publics in the development of historical transmedia narratives with conflicting interpretations. This approach can be particularly relevant in contexts of segregation, discrimination, identity, political changes or cultural wars.
{"title":"Public history and transmedia storytelling for conflicting narratives","authors":"N. Basaraba, Thomas Cauvin","doi":"10.1080/13642529.2023.2184969","DOIUrl":"https://doi.org/10.1080/13642529.2023.2184969","url":null,"abstract":"ABSTRACT Histories of events can be told from multiple perspectives, and there is rarely just one linear narrative or a single interpretation of the past. This paper takes an interdisciplinary approach to explain how the concept of shared authority in public history can be applied to transmedia storytelling, in the context of media studies, to address conflicting narratives on historical events. Transmedia narratives allow for more opportunities to target different audiences and offer alternatives, and perhaps conflicting interpretations, to official mainstream interpretations of historical events. This is achieved through three primary methods of public participation in the development of conflicting narratives which can be presented through a variety of different media. The theoretical challenges in sharing authority of transmedia narrative creation with different publics ranges from strong to little control (i.e. radical trust). Thus, we discuss a series of methodologies that can be strategically used in future research projects that wish to share authority with different publics in the development of historical transmedia narratives with conflicting interpretations. This approach can be particularly relevant in contexts of segregation, discrimination, identity, political changes or cultural wars.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48267343","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 : 2023-03-02DOI: 10.1080/13642529.2023.2172522
Stephen Engel
ABSTRACT The following is an historical fiction about a burial that took place in Sunghir, Russia, circa 32,000 B.C.E. It is historical in the sense that it is based on archaeological evidence of the grave. It is fiction in the sense that it invents a story around the grave that has no substrate in an archive. Since the grave's excavation in 1969, many archaeologists have interpreted it as an early example of the unearned status of elites, though some other interpretations exist. My aim is to describe, in Saidiya Hartman’s phrasing, ‘what might have happened or what might have been said or what might have been done’ where archive and artifacts do not go. Even if such a fiction does not recover an ‘unrecoverable past’, it might nevertheless succeed at what historical fiction does best: making us feel, through force of detail, as though it were real and as though we were there.
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