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Historical Imagination (historical + imagination)
Selected AbstractsTerrific Majesty: The Powers of Shaka Zulu and the Limits of Historical ImaginationAMERICAN ETHNOLOGIST, Issue 2 2001Eric Worby Terrific Majesty: The Powers of Shaka Zulu and the Limits of Historical Imagination. Carolyn Hamilton. Cambridge, MA: Harvard University Press, 1998. xii. 278 pp., map, glossary, notes, bibliography, index. [source] CONFIGURING HISTORICAL FACTS THROUGH HISTORICAL FICTION: AGENCY, ART-IN-FACT, AND IMAGINATION AS STEPPING STONES BETWEEN THEN AND NOWEDUCATIONAL THEORY, Issue 2 2007Kent Den Heyer Through reading a work of historical fiction, Ursula Hegi's novel Stones from the River, Kent den Heyer and Alexandra Fidyk offer a theoretical consideration of the following questions and their classroom implications: What is the role of historical fiction in enabling the imaginative grappling with historical fact? Or, in what ways does historical fiction enable us to come to terms with the ethical imperatives of learning from the past? What role does agency play in historical imagination? These are questions of ethics. They are, therefore, also questions of education. [source] Transitional Spaces: Mapping Physical ChangeINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 2 2007Juliet Sprake Museums and buildings are both considered immutable by the majority of people who use them. A small team from Goldsmiths College, the V&A+RIBA Architecture Partnership and Pimlico School set out to challenge this preconception. The Victoria & Albert museum was taken as a case study to investigate how buildings are a physical manifestation of an institute, and how their physical presence records the way the museum has to respond to outside criteria, from government funding strategies to cultural trends. This article puts forward the argument that a museum building as a subject is a constantly changing environment, through which young learners can develop their historical imagination and critical abilities. It describes the process and findings from a project carried out with students from Pimlico School, who were asked to find and respond to evidence in the fabric of the V&A museum buildings of the substantial physical changes that it is currently undergoing. By choosing specific sites, the students put together a series of PDA-based threads to describe and archive different narratives about the museum at the moment of their mapping. These are made for future visitors to see, hear and compare the museum environment they are experiencing with the one that the students recorded. [source] The appropriation of the Phoenicians in British imperial ideologyNATIONS AND NATIONALISM, Issue 4 2001Timothy Champion The Phoenicians played ambivalent roles in Western historical imagination. One such role was as a valued predecessor and prototype for the industrial and maritime enterprise of nineteenth-century imperial Britain. Explicit parallels were drawn in historical representations and more popular culture. It was widely believed that the Phoenicians had been present in Britain, especially in Cornwall, despite a lack of convincing historical evidence, and much importance was placed on supposed archaeological evidence. Ideological tensions arose from the need to reconcile ancient and modern Britain, and from the Semitic origin of the Phoenicians. This example shows the power of archaeological objects to provide material support for national and imperial constructions of the past. [source] LET THERE BE IRONY: CULTURAL HISTORY AND MEDIA ARCHAEOLOGY IN PARALLEL LINESART HISTORY, Issue 5 2005WOLFGANG ERNST Stephen Bann is well known as an art critic, art historian, cultural historian and museologist, but his writings have yet to be discovered from the point of view of media theory. This article applies Bann's proposal of an ,ironical museum' to a self-reflective media culture, while at the same time establishing the difference between a media-archaeological and an art-historical approach, particularly in accounts of new media in the first half of the nineteenth century and in the present. To what extent was the historical imagination developed in the romantic period an effect of new media and new media technologies? It is argued that although the discourse of history has always depended on the media of its representation (verbal and visual), its character changed dramatically with the arrival of mechanical means for recording historical evidence. The ,antiquarian' method of archival investigation of the past, with its almost haptic taste for the mouldy, decaying fragment, is considered and compared to narrative aesthetics. A key question is considered from different disciplinary perspectives: can we speak of a cultural transition or a radical break with the emergence of photography? The essay concludes that what we learn from Stephen Bann's analyses is the significance of an ever-alert awareness of the intricate relations between cultural and technological phenomena, a kind of media self-irony which, apparently, was present in the past to antiquaries and historiographers, to painters, engravers and to creators of historical museums. [source] | |||||||||||||