Clio in Part: On Antiquarianism and the Historical Fragment

Bann, Stephen

doi:10.2307/1567105

Cited by 5 publications

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“…(Bann, 1984:82) It is an important point to note that, in this description, the visual experience as such is taken for granted. Emphasis is placed on the feature of movement through space ('you walk') and on the sense of envelopment -which, as I have argued elsewhere, could well imply the invocation of the sense of smell (Bann, 1987) -not to mention the vocal contributions of the 'master', Du Sommerard. If there is a parallel with this representation of experience in the development of strictly visual strategies, it is perhaps with the history of the panorama that it should be made, rather than with the traditional pictorial mode.…”

Section: Platementioning

confidence: 99%

“…4 The work is classed under Additional MS 8797, f.88 (British Museum); the quotations from Martin and Walpole are included in the unpaginated exhibition notes. 5 For a further consideration of the Faussett Pavilion, see Bann, 1987. 6 See Bann, 1984 for an approach to the question as it can be applied to Scott and Byron: the point of reference in psychoanalysis used here is the work of Melanie Klein.…”

Section: -63 3 the First Notion Was Developed By John Dixon Hunt mentioning

confidence: 99%

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‘Views of the Past’ — Reflections on the Treatment of Historical Objects and Museums of History (1750–1850)

Bann¹

1987

The Sociological Review

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Section: Platementioning

confidence: 99%

Section: -63 3 the First Notion Was Developed By John Dixon Hunt mentioning

confidence: 99%

‘Views of the Past’ — Reflections on the Treatment of Historical Objects and Museums of History (1750–1850)

Bann¹

1987

The Sociological Review

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“…"All this means that they have stood somewhat askew to the historical law." 84 But read according to the paradoxical imperative of a mind like Walpole's, the investigator's position outside the "law" is another way of registering his or her commitment to the rule of Pan, the faithfulness, even to a fault, to the anomalies of history. And while Walpole's delight in difference often gets labeled as amateurism, even by Walpole himself, it is precisely for his mad pursuit, what he tabbed "serendipity," that he has emerged as an important figure in the empirical sciences, corporate culture, research into computer-human interaction, and so on.…”

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The Prehistory of Serendipity, from Bacon to Walpole

Silver

2015

Isis

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During the past four decades there has developed a burgeoning literature on the concept of serendipity, the name for sudden insights or conceptual breakthroughs that occur by chance or accident. Studies repeatedly note that it was Horace Walpole, the eighteenth-century man of letters, who coined the word. None of them, however, notice that Walpole's term is itself indebted to a much older tradition, invoking a formula developed by Francis Bacon. Recovering the prehistory of the term suggests that "serendipity," rather than being a name for a special mode of discovery invented by Walpole, has all along accompanied empiricism as the name for an essential gap in its epistemology. Serendipity bears directly on the "induction problem," or what has more recently been called the "conceptual leap." Though Walpole gave it its current name, versions of the concept have all along isolated a critical gap in the method of the sciences inaugurated by Bacon.

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What are historians for?

Champion

2007

Historical Research

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This lecture addresses the general issue of the public function of academic history. In doing so, it considers the changing role of 'history' (both the practice and the form) from the Greeks to contemporary times, by exploring ways in which the muse Clio has been represented. It raises questions about the nature of public history in the U.K., by comparison with the so-called 'History wars' in North America and Australasia. It also engages with the relationship between the supposedly disinterested nature of historical enquiry and the ethical assumptions of historians as agents in society. By reflecting upon the tensions between the claims of historical writing as 'scholarship' and its literary form as a means of communicating with an audience, it argues that a priority for the discipline is to engage with pertinent matters of public concern.'History that is not useful, that has not some lay appeal, is mere antiquarianism; history that is not controversial is dead history ' claimed Hugh Trevor Roper in 1957. 1 Taking this view as a departure point, this article will reflect upon whether historians have responsibilities to communicate with the public, and how their public utility has changed over time. 2 * This article is a revised version of the inaugural lecture delivered at Royal Holloway,

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Clio in Part: On Antiquarianism and the Historical Fragment

Cited by 5 publications

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‘Views of the Past’ — Reflections on the Treatment of Historical Objects and Museums of History (1750–1850)

‘Views of the Past’ — Reflections on the Treatment of Historical Objects and Museums of History (1750–1850)

The Prehistory of Serendipity, from Bacon to Walpole

What are historians for?

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