We are all historians of the present. At least we should be. Many fellow historians of knowledge are currently using a wide variety of media to share their experience and research in an effort to put the global response to the COVID-19 pandemic into context. Twitter is one medium where this conversation is especially lively, as Eileen Sperry has noted on Nursing Clio, a wonderful group blog that is also active on Twitter. One can find these parts of Twitter by searching for the relevant hashtags, for example, #histmed (history of medicine) and the much more generic #twitterstorians (historians on twitter).
POSTDOC VACANCY: The Restitution of Knowledge: Artefacts as Archives in the (Post)Colonial Museum, 1850-1939. TU Berlin, April 15, 2020, to April 14, 2022. Application deadline: March 20, 2020. (HT @an_augusti)
CALL FOR PAPERS: The Technology Behind Media Misinformation: The Creation, Detection and Investigation of Fake News. “The Digital Humanities/Digital Scholarship Special Interest Group is calling for presenters to participate in their open session at the IFLA World Library and Information Congress in Dublin, Ireland, from August 15-20, 2020.” Deadline: March 25, 2020. (HT @SwenSteinberg for this and the next two calls .)Continue reading “Knowledge Notes”
What is the history of knowledge? That bigger question came up more than once at the conference Political Culture and the History of Knowledge, as Kijan Espahangizi and Monika Wulz’s report shows. One helpful response to the debates were the 5 Tenets that Shadi Bartsch initially posted on Twitter for the SIFK.
When the writer Anne Brewster (1818–1892) and the sculptor Harriet Hosmer (1830–1908) met in Italy in 1876, their conversation circled mainly around the recently deceased actress Charlotte Cushman. That itself was hardly unusual—Cushman was the talk of the town. During most of her adult life, Charlotte Cushman (1816–1876) was among the most-well known public figures in the Anglophone world. As an American actress who could boast a phenomenal success in Britain with roles as varied as Meg Merrilies and Romeo, Cushman dominated the theatrical scene on both sides of the Atlantic for several decades. While she might be forgotten today,1 she was everywhere during the height of her success. You can’t miss her in databases like ProQuest’s American Periodicals Series and Historical Newspapers or the Library of Congress’s Chronicling America: Historic American Newspapers. Yet if you relied only on these public sources, you’d miss a lot.
Workshop at the Centre Marc Bloch in Berlin, February 18-19, 2020, in cooperation with the Leibniz-Institute of European History in Mainz.
Stephanie Leitsch is teaching the 44th International Wolfenbüttel Summer Course, entitled “Early Modern Visual Data: Organizing Knowledge in Printed Books.”
As prints taught viewers how to observe and thus arguably democratized knowledge derived from first-hand experience, this seminar considers printed images as critical visual technology that built knowledge acquisition. . . .
As art objects circulate over time, they connect various people, places, times, stories, and even historiographies. Although they cannot speak to us directly about their biographies, we can still interrogate them and related evidence in order to learn more about who once possessed them and where and how they were kept. As we do this, we can draw on the concept of circulation to direct scholarly attention toward how not only objects but also knowledge about them moves. Objects, knowledge, and their significance for those involved is continuously circulated and negotiated, yielding new knowledge and meaning in the process. Thus, we might endeavor to elaborate both the spatial and temporal dimensions of provenance research as integral parts of contemporary art history.
In 1908, The Metropolitan Museum of Art purchased from the French art dealer Kleinberger Galleries a sixteenth-century portrait believed to be that of Johann, Duke of Saxony, painted by Lucas Cranach the Elder. The Museum’s paintings curator, Roger Fry, had learned of the availability of this little-known work by the German Renaissance master late in 1907, and through correspondence with Kleinberger confirmed its provenance and attribution, which were attested by the eminent art historians Max Friedländer and Wilhelm von Bode. The picture crossed the Atlantic on the Courraine, arrived at the Met on February 3, and was installed in its galleries soon after. It was the first work by Cranach the Elder in the Metropolitan’s collection.
- Fellowship: Binational Visiting Fellow Tandem Program in the History of Migration at GHI Pacific Regional Office in Berkeley. Application deadline: January 15, 2020. (Why migration on a blog about knowledge? See the Knowledge and Migration page on this site.)
- Reading: Martin Collins and Teasel Muir-Harmony, eds., Making the Pacific: Making Japanese-U.S. Relations: Science and Technology as Historical Agents in the Twentieth Century, special issue, Pacific Historical Review 88, no. 4 (Fall 2019): 509–658.