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Historical Research, Creative Writing, and the Past : Methods of Knowing.

Von: Morrison, Kevin AMitwirkende(r): Rantala, PälviMaterialtyp: TextTextSprache: EnglischReihen: Routledge New Textual Studies in Literature SeriesVerlag: Oxford : Taylor & Francis Group, 2023Copyright-Datum: ©2023Auflage: 1st edBeschreibung: 1 online resource (271 pages)Inhaltstyp: Text Medientyp: Computermedien Datenträgertyp: Online ResourceISBN: 9781000890105Schlagwörter: HistoriographyGenre/Form: Fernzugriff | Andere physische Formen: Print version: : Historical Research, Creative Writing, and the PastOnline-Ressourcen: Volltext
Inhalte:
Intro -- Half Title -- Series Page -- Title Page -- Copyright Page -- Contents -- Illustrations -- Contributors -- Introduction: Methods of Knowing -- Notes -- References -- Section I: Textual and Conceptual Approaches -- 1. Epic Posturing and Epic Entanglements: Historiography, Creative Inquiry, and the Writing of the Self in Boiardo, Montaigne, and Cervantes -- Epic History and the Enchantment of Fiction in Boiardo's Orlando Innamorato -- Historical Material, 'Meraviglia,' and the Problem of Completion in the Innamorato -- The 'bella istoria' as Motor: Historical 'Truth' and Fictions of the Self in Montaigne and Cervantes -- Historiography and the Interpretive Path through Montaigne's Essais -- Temporal Limits and Reliquary Commemoration: Remains of the Self in the Essais -- Authorial Ambiguity and Narrative Closure: Historicizing Literary Ends in Cervantes -- 'Making' History: True Testimonies and Controlled Endings in the Quijote -- Notes -- References -- 2. 'The Machine for Showing Desire': Desert Romance Fiction and Knowing Sexual Desire -- Desire in the Desert -- White Women on the Move -- Sheiks and Sexual Scripts -- Conclusion -- Notes -- References -- 3. Entwining Temporalities in Craig Williamson's The Complete Old English Poems -- Invoking Ancestral Poets -- Altering (Con)texts -- The Agency of Artefacts -- Notes -- References -- Section II: Material and Emotional Approaches -- 4. Filling in the Blanks: An Open Door Invitation to a Nineteenth-Century American Period Room -- From Private Wunderkammer/Cabinet of Curiosities to National Museums -- Property as Knowledge: Sixteenth-Century Europe -- Property as Knowledge: Eighteenth-/Nineteenth-Century America -- Disciplinary Origins in Empire: The Advent of National Museums in the Eighteenth Century -- Property and Privacy in Late Nineteenth-Century America and Europe -- The Period Room.
Mrs. M___'s Cabinet -- Conclusion -- Notes -- References -- 5. Scraps of History: Vernacular Archiving and Creative Composition -- I -- II -- III -- IV -- V -- VI -- VII -- VIII -- IX -- Note -- Notes -- References -- 6. Tolkien, Cline, and the Quest for a Silmaril -- Wade's Virtual Quest on Arda I -- Reviving Lost Souls: The Question of Halliday's and Wade's Ethics in Ready Player Two -- Acknowledgements -- Notes -- Filmography -- References -- Section III: Speculative and Experiential Approaches -- 7. Dreams, Historical Knowledge, and the Death of a California Fisherwoman -- I Embodied Experiences -- II Fisheries, Fisherwomen, and Coastal Communities -- III Speculative Possibilities -- Notes -- References -- 8. All Cops Are Biased: Historiography as Detective Story -- 1. Suspense -- 2. The Absent Narrator -- 3. Multiple Motives -- 4. Why the Whydunit? -- Conclusion -- Note -- References -- 9. Sound Puppets: Using Sonic Non-fiction to Perform the Past -- The Historian-Ventriloquist by Heidi Stalla -- Sonic Historical Reconstruction by Diana Chester -- References -- Section IV: Embodied Methodologies -- 10. Co-imagining the History of a Village: Autoethnographer as Verbalizer of Experience-Based Knowledge -- The Contextualization of Experience-Based Knowledge -- The Reciprocal Process of Imagining and Nostalgia -- Co-imagining with Water -- Rowing as Experimental Activity of Co-imagining -- Conclusion -- Notes -- References -- 11. My Writing Journey with the Webers -- Prologue -- The Other Max -- The Ethics of Writing of Another Person -- Writing Differently? Or: Nothing New in the World -- First Text: Starry Blue Night -- Second Text: In Marianne's Room -- Third Text: Agnes Appears -- Notes -- References -- 12. Knowing Hands: Using Tactile Research Methods in Researching and Writing the History of Design.
Embodied Research and Object Handling as Historical Research Method -- Writing Embodied Research -- Generative Academic Norms: The Faculty Writing Group -- Creative Non-fiction Strategies for Writing the Sensory Self -- First Hand, First Person? -- Conclusion -- Notes -- References -- Index.
Zusammenfassung: Historical Research, Creative Writing, and the Past brings together researchers in a wide array of disciplines who employ imagination, creativity, or fiction in their own historical scholarship or who analyze the use of imagination, creativity, or fiction to make historical claims by others.

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Intro -- Half Title -- Series Page -- Title Page -- Copyright Page -- Contents -- Illustrations -- Contributors -- Introduction: Methods of Knowing -- Notes -- References -- Section I: Textual and Conceptual Approaches -- 1. Epic Posturing and Epic Entanglements: Historiography, Creative Inquiry, and the Writing of the Self in Boiardo, Montaigne, and Cervantes -- Epic History and the Enchantment of Fiction in Boiardo's Orlando Innamorato -- Historical Material, 'Meraviglia,' and the Problem of Completion in the Innamorato -- The 'bella istoria' as Motor: Historical 'Truth' and Fictions of the Self in Montaigne and Cervantes -- Historiography and the Interpretive Path through Montaigne's Essais -- Temporal Limits and Reliquary Commemoration: Remains of the Self in the Essais -- Authorial Ambiguity and Narrative Closure: Historicizing Literary Ends in Cervantes -- 'Making' History: True Testimonies and Controlled Endings in the Quijote -- Notes -- References -- 2. 'The Machine for Showing Desire': Desert Romance Fiction and Knowing Sexual Desire -- Desire in the Desert -- White Women on the Move -- Sheiks and Sexual Scripts -- Conclusion -- Notes -- References -- 3. Entwining Temporalities in Craig Williamson's The Complete Old English Poems -- Invoking Ancestral Poets -- Altering (Con)texts -- The Agency of Artefacts -- Notes -- References -- Section II: Material and Emotional Approaches -- 4. Filling in the Blanks: An Open Door Invitation to a Nineteenth-Century American Period Room -- From Private Wunderkammer/Cabinet of Curiosities to National Museums -- Property as Knowledge: Sixteenth-Century Europe -- Property as Knowledge: Eighteenth-/Nineteenth-Century America -- Disciplinary Origins in Empire: The Advent of National Museums in the Eighteenth Century -- Property and Privacy in Late Nineteenth-Century America and Europe -- The Period Room.

Mrs. M___'s Cabinet -- Conclusion -- Notes -- References -- 5. Scraps of History: Vernacular Archiving and Creative Composition -- I -- II -- III -- IV -- V -- VI -- VII -- VIII -- IX -- Note -- Notes -- References -- 6. Tolkien, Cline, and the Quest for a Silmaril -- Wade's Virtual Quest on Arda I -- Reviving Lost Souls: The Question of Halliday's and Wade's Ethics in Ready Player Two -- Acknowledgements -- Notes -- Filmography -- References -- Section III: Speculative and Experiential Approaches -- 7. Dreams, Historical Knowledge, and the Death of a California Fisherwoman -- I Embodied Experiences -- II Fisheries, Fisherwomen, and Coastal Communities -- III Speculative Possibilities -- Notes -- References -- 8. All Cops Are Biased: Historiography as Detective Story -- 1. Suspense -- 2. The Absent Narrator -- 3. Multiple Motives -- 4. Why the Whydunit? -- Conclusion -- Note -- References -- 9. Sound Puppets: Using Sonic Non-fiction to Perform the Past -- The Historian-Ventriloquist by Heidi Stalla -- Sonic Historical Reconstruction by Diana Chester -- References -- Section IV: Embodied Methodologies -- 10. Co-imagining the History of a Village: Autoethnographer as Verbalizer of Experience-Based Knowledge -- The Contextualization of Experience-Based Knowledge -- The Reciprocal Process of Imagining and Nostalgia -- Co-imagining with Water -- Rowing as Experimental Activity of Co-imagining -- Conclusion -- Notes -- References -- 11. My Writing Journey with the Webers -- Prologue -- The Other Max -- The Ethics of Writing of Another Person -- Writing Differently? Or: Nothing New in the World -- First Text: Starry Blue Night -- Second Text: In Marianne's Room -- Third Text: Agnes Appears -- Notes -- References -- 12. Knowing Hands: Using Tactile Research Methods in Researching and Writing the History of Design.

Embodied Research and Object Handling as Historical Research Method -- Writing Embodied Research -- Generative Academic Norms: The Faculty Writing Group -- Creative Non-fiction Strategies for Writing the Sensory Self -- First Hand, First Person? -- Conclusion -- Notes -- References -- Index.

Historical Research, Creative Writing, and the Past brings together researchers in a wide array of disciplines who employ imagination, creativity, or fiction in their own historical scholarship or who analyze the use of imagination, creativity, or fiction to make historical claims by others.

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