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Publicerad: 2019-09-20

Brittiska historikern Ludmilla Jordanova gästar universitetet v. 39

NYHET Institutionen för idé- och samhällsstudier gästas vecka 39 av den brittiska historikern Ludmilla Jordanova. Jordanova har bland mycket annat varit föreståndare för Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) i Cambridge och är för närvarande professor i visuell kultur vid Durham University.

Jordanova är författare till flera viktiga arbeten inom vetenskapshistoria, medicinhistoria, konsthistoria och genushistoria, inklusive böckerna Sexual Visions: Images of Gender in Science and Medicine between the Enlightenment and Twentieth Centuries och The Look of the Past: Visual and Material Evidence in Historical Practice. Hennes lärobok History in Practice har nyligen utkommit i en tredje upplaga.

Seminarium med Ludmilla Jordanova

På onsdag den 25 september kl 10.15-12.00 håller Ludmilla Jordanova ett seminarium i sal HD109 med rubriken “Only Connect”: Reflections on Historical Practice

Abstract: The phrase ‘only connect’ is associated with Howard’s End, E.M.Forster’s novel, published in 1910 and an English classic.  It is also the title of an artwork by Ian Hamilton Finlay at Jupiter Artland in Scotland, which invokes Forster’s novel.  This clearly resonant idea may be useful to historians too.  It is our job to make strong, convincing connections, to discern patterns, and to show how phenomena relate to one another, often in ways that historical actors themselves could neither perceive nor have anticipated.  We employ all sorts of devices and concepts for connecting up elements from the past, and it is useful to subject them to scrutiny. ‘Only connect’ then is a jumping off point for reflecting not just on historical practice, but on how we describe and conceptualise it.  In Forster’s hands the phrase suggested the difficulties that groups with different values and back stories experience in sympathising with and accommodating each other – a challenge that historians have to meet constantly in their professional lives, and that has ethical dimensions.  In this respect too Howard’s End may be relevant to historians.  Indeed in reflecting on historical practice, we may find fiction to be a rich source of ideas and insights.  By the same token, when historians deploy ‘non-documentary’ sources, such as art and literature, and engage with the fields that have specialised in them, they can both sharpen and extend their understanding of their own craft.

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