ABSTRACT

This book considers how history is not just objectively lived but subjectively experienced by people in the process of orienting their present toward the past. It analyses affectivity in historical experience, examines the digital mediation of history, and assesses the current politics of competing historical genres. The contributors explore the diverse ways in which the past may be activated and felt in the here and now, juxtaposing the practices of professional historiography with popular modes of engaging the past, from reenactments, filmmaking/viewing and historical fiction to museum collections and visits to historical sites. By examining the divergent forms of historical experience that flourish in the shadow of historicism in the West, this volume demonstrates how, and how widely (socially), the understanding of the past exceeds the expectations and frameworks of professional historicism. It makes the case that historians and the discipline of History could benefit from an ethnographic approach in order to assess the social reception of their practice now, and into a near future increasingly conditioned by digital media and demands for experiential immediacy.

chapter 1|29 pages

Introduction

The varieties of historical experience

part |43 pages

Genres

chapter 2|20 pages

The generic turn

Genre, audience, and reclaiming historical authority

part |44 pages

Emotions

chapter 4|18 pages

Gooseflesh

Music, somatosensation, and the making of historical experience

chapter 5|24 pages

Affective democracy

Building a community of feeling through Spanish mass grave exhumations

part |48 pages

Places

chapter 6|19 pages

Reframing Waterloo

Memory, mediation, experience

chapter 7|27 pages

Of arks and dragons

The power of entertainment in creationist historicity

part |37 pages

Hauntings

chapter 8|20 pages

Bodies, artifacts, and ghosts

NAGPRA and the unsettling of settler colonialism

chapter 9|15 pages

Competing roadways, contesting bloodlines

Registers of biopower at a lynching reenactment and a Confederate flag rally

part |48 pages

Media

chapter 10|25 pages

Iterative interactions

Old and new media inflections of the historical imagination

chapter 11|21 pages

Sensors and sources

How a universal model of instrumentation affects our experiences of the past

part |17 pages

Futures