The Unbelieved and Historians, Part I: A Challenge

Clossey, Luke; Jackson, Kyle; Marriott, Brandon; Redden, Andrew; Vélez, Karin

doi:10.1111/hic3.12360

Cited by 22 publications

(5 citation statements)

References 18 publications

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“…Some of them are even willing to take the belief in ghosts seriously. The historian's task, they explain, is not to judge the belief, but to observe its effectsa position that, in spite of its purported agnosticism, posits that what is effective is the belief in the ghost, not the ghost itself (Chakrabarty, 2001: 16, 104-6;Clossey, et al, 2016). This, however, is not agnosticism, but a firm claim that ghosts do not exist and hence cannot act, and they certainly cannot link present and absent times.…”

Section: Ghosts and Jinnsmentioning

confidence: 99%

Emotions and Temporalities

Pernau

2021

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This Element brings together the history of emotions and temporalities, offering a new perspective on both. Time was often imagined as a movement from the past to the future: the past is gone and the future not yet here. Only present-day subjects could establish relations to other times, recovering history as well as imagining and anticipating the future. In a movement paralleling the emphasis on the porous self, constituted by emotions situated not inside but between subjects, this Element argues for a porous present, which is open to the intervention of ghosts coming from the past and from the future. What needs investigating is the flow between times as much as the creation of boundaries between them, which first banishes the ghosts and then denies their existence. Emotions are the most important way through which subjects situate and understand themselves in time.

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Section: Ghosts and Jinnsmentioning

confidence: 99%

Emotions and Temporalities

Pernau

2021

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“…21 While these elements of her character and archive have been previously ignored because of what one group of historians have recently described as the ongoing 'dogmatic secularism' of historical practice, I recommend resurfacing these ancient forms of mystical knowing so that her monument can 'talk back' to the hyper rationalism of Sydney's nineteenth-century statuary. 22 For example, by depicting Aesi as an explorer, albeit of ancient forms of knowing associated with the interior world of intuition and imagination rather the naval navigation or geographical interiors of the continent, this public work might stimulate some re ection about di erent modalities of discovery. In contrast to that now highly contested statue of James Cook in Hyde Park, which shows him with one arm raised aloft, and the other holding a telescope, Aesi could be depicted in deep in communion with 'the celestial spheres' or scrying a crystal ball.…”

Section: Infusing the Femininementioning

confidence: 99%

'Remember Aesi':

Lindsey¹

2021

Public History Review

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In this article I draw upon a definition of ‘dialogical memorial’ offered by Brad West to offer an experimental artist's brief that outlines the various ways that a contemporary monument to the colonial artist, Adelaide Eliza Scott Ironside (1831-1867), could ‘talk back’ to the nineteenth-century statues of her contemporaries, and ‘converse’ with more recent acts of history making. In contrast to the familiar figure of the individual hero, which we associate with the statuary of her age, I suggest a group monument that acknowledges the intimate intergenerational female network which shaped Aesi's life and also ‘re-presents’ – a term coined by the historian Greg Dening – several native born and convict women from the Georgian, Regency and Victorian eras who influenced her life. Instead of elevating Aesi upon a plinth, I recommend grounding this group monument on Gadigal country and planting around it many of the Australian Wildflowers she painted in ways that draw attention to the millennia-old Indigenous uses of the same plants. And finally, by situating Aesi’s monument in the Outer Domain (behind the New South Wales Art Gallery in Sydney’s Botanic Gardens and to the east of the Yurong Pennisula, near Woolloomooloo Bay), in an area where she once boldly assumed centre stage before a large male audience in a flamboyant moment of her own theatrical history-making, I argue that this memorial will have the capcity to speak for itself in ways that challenge the underepresentation of colonial women in Sydney's statuary, abd, as West suggests, do much to ‘alter the stage on which Sydney's colonial history 'is narrated and performed’. [i] Greg Dening, Performances, Melbourne University Press, Melbourne, 1992, p37.

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“…Of the good with a credulous temper, as of the great with a suspicious 66 intellectual coherence" of early modern credulity. 73 In Eliza Buckminster Lee's Delusion (1840), for example, the lover of a condemned witch buckles under the weight of the doctrinal logic that she must be a witch, logic the accused herself sanctions by assuring him, "you could not have done otherwise. .…”

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confidence: 99%