This book presents, for the first time in English, an overview of the decisive Battle of Aljubarrota (1385), the most important military moment in Portuguese history. The authors embody the conflict in the context of Iberian relations during the fourteenth century, and integrate the battle in the macro European conflict of the Hundred Years War and the repercussions for Iberia, particularly Castile and Portugal. They go on to reflect on the political and diplomatic implications of the Anglo-Portuguese alliance, regarded as a turning point in the establishment of national identity and myth. Finally and uniquely, the book concludes with a presentation of how the battlefield site is preserved today and how to convey the medieval site to new generations.

Byzantine art is normally explained as devotional, historical, highly intellectualized, but this book argues for an experiential necessity for a fuller, deeper, more ethical approach to this art. Written in response to an exhibition the author curated at The Menil Collection in 2013, this monograph challenges us to search for novel ways to explore and interrogate the art of this distant culture. They marshal diverse disciplines—modern art, environmental theory, anthropology—to argue that Byzantine culture formed a special kind of Christian animism. While completely foreign to our world, that animism still holds important lessons for approaches to our own relations to the world. Mutual probings of subject and art, of past and present, arise in these essays—some new and some previously published—and new explanations therefore open up that will interest historians of art, museum professionals, and anyone interested in how art makes and remakes the world.

This book is available as Open Access.

How have public history projects celebrated Arab American life and culture and countered anti-Arab bias and discrimination? The editor and contributors to Arab American Public History show how this vibrant community creates their own narratives through writing, blogging, curating, collaborating, and broadcasting. They also consider how the larger social and political contexts affect their work and offer self-reflection.

Arab American Public History is an invitation to engage more deeply with Arab American communities. Chapters examine Arab Americans’ origins, ethnic identities, and efforts to belong in America through case studies of the community’s food cultures, genealogy research, cultural production, and neighborhood enclaves.   

The first formal study of Arab American public history, this exciting volume charts various ways Arab Americans have interpreted their past as a source of defiant humanity, cultural enfranchisement, social solidarity, and political power.

Contributors: Reem Awad-Rashmawi, Chloe Bordewich, Richard M. Breaux, Maria F. Curtis, Lydia Harrington, Randa A. Kayyali, Matthew Jaber Stiffler, Rebecca K. Shrum, and the editor

In the series History and the Public

A lively account of how dinosaurs became a symbol of American power and prosperity and gripped the popular imagination during the Gilded Age, when their fossil remains were collected and displayed in museums financed by North America’s wealthiest business tycoons.

Although dinosaur fossils were first found in England, a series of dramatic discoveries during the late 1800s turned North America into a world center for vertebrate paleontology. At the same time, the United States emerged as the world’s largest industrial economy, and creatures like Tyrannosaurus, Brontosaurus, and Triceratops became emblems of American capitalism. Large, fierce, and spectacular, American dinosaurs dominated the popular imagination, making front-page headlines and appearing in feature films.

Assembling the Dinosaur follows dinosaur fossils from the field to the museum and into the commercial culture of North America’s Gilded Age. Business tycoons like Andrew Carnegie and J. P. Morgan made common cause with vertebrate paleontologists to capitalize on the widespread appeal of dinosaurs, using them to project American exceptionalism back into prehistory. Learning from the show-stopping techniques of P. T. Barnum, museums exhibited dinosaurs to attract, entertain, and educate the public. By assembling the skeletons of dinosaurs into eye-catching displays, wealthy industrialists sought to cement their own reputations as generous benefactors of science, showing that modern capitalism could produce public goods in addition to profits. Behind the scenes, museums adopted corporate management practices to control the movement of dinosaur bones, restricting their circulation to influence their meaning and value in popular culture.

Tracing the entwined relationship of dinosaurs, capitalism, and culture during the Gilded Age, Lukas Rieppel reveals the outsized role these giant reptiles played during one of the most consequential periods in American history.

In summer of 1361, the Danish king conquered the island of Gotland, the centre of Baltic communication and trade. The invaders clashed with local forces outside the walls of Visby. The battle is well known from the excavated mass graves with human skeletons and large quantities of armour, which reveal the savage reality of the medieval battlefield. How was victory possible? Did Danish hyper-professional armies with mercenaries slaughter ill-equipped Gotlandic peasants, while German merchants were passive spectators from the walls of the main city, as historians have claimed? This book challenges traditional interpretations by investigating the human remains and equipment from their societal position, and puts the conquest of Gotland into a broader historical context of the medieval battle for dominium over the Baltic. It also discusses contemporary interpretations of the battle in museums, literature, media, and legends.

The Battle of Manzikert on August 26, 1071 is widely regarded as one of the most significant turning points in medieval history, frequently presented as the culmination of a Turco-Islamic assault upon the Byzantine bulwark of a Christian world struggling for survival. Emperor Romanus IV’s campaigns between 1068 and 1071 do, in many ways, represent the empire’s fightback against an enemy that for decades had penetrated deep into Asia Minor, its heartland and strategic bulwark. Yet Manzikert was not a disaster. This book examines the geopolitical background and the origins of the campaign that led to the battle, the main protagonists, and their strategies and battle tactics. It also evaluates the primary sources and the enduring legacy of the battle, for both the Greek and Turkish historiography of the twentieth century.

“As is well known, Pete is an outstanding storyteller, and this book is no exception."
—Claire Strom, Journal of Southern History

In addition to chronicling significant exhibit work at the Smithsonian National Museum of American History, Curating the American Past, captures the excitement inherent in researching and writing history and Pete Daniel’s efforts to prevent diluted celebratory stories from replacing the red meat of the American past.

In Curating the American Past, Pete Daniel reveals how curators collect objects, plan exhibits, and bring alive the country’s complex and exciting history. In vivid detail, Daniel recounts the exhilaration of innovative research, the joys of collaboration, and the rewards of mentoring new generations of historians. In a career distinguished by prize-winning publications and pathbreaking exhibitions, Daniel also confronted the challenges of serving as a public historian tasked with protecting a definitive American museum from the erosion of scholarly standards. Curating the American Past offers a wealth of museum wisdom, illuminating the crucial role that dedicated historians and curators serve within our most important repositories of cultural memory.

The study of medieval and early modern geographic space, literary cartography, and spatial thinking at a time of rapid digitization in the Humanities offers new ways to investigate spatial knowledge and world perceptions in pre-modern societies. Digitization of cultural heritage collections, open source databases, and interactive resources utilizing a rich variety of source materials—place names, early modern cadastral maps, medieval literature and art, Viking Age and medieval runic inscriptions—provides opportunities to re-think traditional lines of research on spatiality and worldviews, encourage innovation in methodology, and engage critically with digital outcomes.

In this book, Nordic scholars of philology, onomastics, history, geography, literary studies, and digital humanities examine multiple aspects of ten large- and small-scale digital spatial infrastructures from the early stages of development to the practical applications of digital tools for studying spatial thinking and knowledge in pre-modern sources and societies.

In this unique collection the authors present a wide range of interdisciplinary methods to study, document, and conserve material cultural heritage. The methods used serve as exemplars of best practice with a wide variety of cultural heritage objectshaving been recorded, examined, and visualised. The objects range in date, scale, materials, and state of preservation and sopose different research questions and challenges for digitization, conservation, and ontological representation of knowledge. Heritage science and specialist digital technologies are presented in a way approachable to non-scientists, while a separate technical section provides details of methods and techniques, alongside examples of notable applications of spatial and spectral documentation of material cultural heritage, with selected literature and identification of future research. This book is an outcome of interdisciplinary research and debates conducted by the participants of the COST Action TD1201, Colour and Space in Cultural Heritage, 2012–16 and is an Open Access publication available under a CC BY-NC-ND licence.

What does it mean to digitize a medieval manuscript? This book examines this question by exploring a range of advanced imaging technologies, from multispectral to 3D to reflectance transformation imaging. To understand imaging technologies requires an understanding of the complex materiality of what is being digitized and, to this end, the book focuses on the relationship between digital technologies and the complex materiality of manuscripts and the human bodies that engages them.

From this perspective, the chapters explore imaging technologies, interfaces to present digital surrogates, and limitations to and enhancements through the digital. But lest past photographic information be lost, the book also examines historical photographs, exploring their rich visual information, and how digitizing and comparing them transforms what can be known. Examples and innovations from the author’s work digitizing the eighth-century St. Chad Gospels at Lichfield Cathedral are provided.

This book is essential reading for all those involved in large and small scale manuscript digitization projects in both scholarly and cultural heritage contexts.

A comprehensive introduction to the economics of cultural heritage for heritage professionals. 

Essential Economics for Heritage provides tools from economics that will aid scholars, professionals, and students in heritage-related fields, such as archaeology, museum and site management, research, presentation, and conservation. With a wealth of practical examples ranging from wealthier countries in the Global North to nations that depend on heritage as a key economic resource, this guide applies relevant economic theory and business analysis to issues regularly faced in the field, from heritage tourism and sustainability to the role of heritage in economic development, investment decision making, and financing for heritage organizations.

Literary archives differ from most other types of archival papers in that their locations are more diverse and difficult to predict. Acquiring institutions for literary papers have historically had very little by way of collecting policies and consequently the collecting of literary papers has often been opportunistic and serendipitous.The essays collected in this book all derive or continue from the recent work of the Diasporic Literary Archives Network, which takes a comparative, transnational and internationalist approach to studying literary manuscripts, their uses and their significance. The focus on diaspora provides a philosophical framework which gives a highly original set of points of reference for the study of literary archives, including concepts such as the natural home, the appropriate location, exile, dissidence, fugitive existence, cultural hegemony, patrimony, heritage, and economic migration.

An empirically grounded analysis of the repurposing of ancient and medieval European history in digital-age populism.

How was the Roman Empire invoked in Brexit Britain and in the United States during  Donald Trump’s presidency, and to what purpose? And why is it critical to answer these kinds of questions? Heritage and Nationalism explores how people’s perceptions and experiences of the ancient past shape political identities in the digital age. It examines the multiple ways in which politicians, parties, and private citizens mobilize aspects of the Iron Age, Roman, and Medieval past of Britain and Europe to include or exclude others based on culture, religion, class, race, and ethnicity.
 
The book uses quantitative and qualitative methods to investigate how premodern periods are leveraged to support or oppose populist-nationalist arguments as part of social media discussions concerning Brexit, the Italian Election of 2018, and the US-Mexican border debate in the United States. Analyzing millions of tweets and Facebook posts, comments, and replies, this book is the first to use big data to answer questions about public engagement with the past and identity politics. The findings and conclusions revise and reframe the meaning of populist nationalism today and help to build a shared basis for the democratic engagement of citizens in public life in the future. The book offers a fascinating and unmissable read for anyone interested in how the past and its contemporary legacy, or heritage, influence our political thinking and feeling in a time of hyper-connectivity.

Dedicated to the art of the United States, the Smithsonian American Art Museum contains works by more than 7,000 artists and is widely regarded as an invaluable resource for the study and preservation of the nation's cultural heritage. But as Lois Marie Fink shows in this probing narrative, the history of the museum is hardly one of steady progress. Instead, it reads like a nineteenth-century melodrama, replete with villains and heroes, destruction by fire, dashed hopes, and periods of subsistence survival—all leading eventually to a happy ending. 

Originating as the art gallery stipulated in the 1846 founding legislation of the Smithsonian, the museum developed within an institution that was essentially controlled by scientists. In its early years, the museum's holdings included a diverse selection of art and artifacts, mostly donated from private collections. Government support varied in response to shifting attitudes of officials and the public toward American art, ranging from avid admiration at the turn of the twentieth century to a tepid response and an almost total withdrawal of funding a generation later in favor of European masterworks. For decades the museum followed scientific organizational principles in exhibitions and collection strategies. Far into the twentieth century, accessions remained tied to nineteenth-century figurative art, reflecting the strength and influence of anthropology and biological sciences at the Smithsonian. A key breakthrough for modern art came in 1964 with the appointment of Smithsonian secretary Dillon Ripley, a scientist who strongly promoted the art side of the institution. With renewed support for expanding the collection and programs, the museum moved in 1968 to its present location in the Patent Office Building. 

In recounting the history of the museum from 1846 to 1980, Fink unravels the various levels of institutional authority, power, governance, and bureaucracy and shows how people at each level influenced the fortunes of the collection. She also places changing concepts of art and museum practice in the context of national ideals and Washington realities.

In June 1219 Danish crusaders fought a vicious battle against local pagan warriors at the place in northern Estonia where Tallinn now lies. The battle—known then as the Battle of Lyndanise—was a narrow victory for the crusaders and eventually turned out to be a pivotal event in the national histories of both Denmark and Estonia as a milestone in the overall military conquest of the entire region by (mostly) western military powers. The main scope of this book is to present a study of this military conquest of Estonia around 1200 with a special focus on the Scandinavian involvement, enabling us to better understand the intense political, military, and religious changes that came to influence the region and its many people from the early high medieval period onwards.

Recent decades have witnessed concerns over representation, inclusion, and social justice move from the margins to the centre of museum practice. While a growing number of institutions seek to reflect the diversity of their communities in exhibition-making, gaps remain in understanding applied approaches and practices. This book presents the inclusion of new voices and perspectives into the museum via "inclusive curating," a facilitated process empowering a wide demographic of people to become curators. Grounded in a case study, this book offers guidance in putting inclusive curating into action alongside a range of practical resources and key debates. Curating is often considered an exclusive job for a privileged few. But, by breaking it down using methods demonstrated throughout this book, not only does curating become more usable for more people, it also contributes to understanding the process and practices by which our cultural spaces can become democratized.

A full examination of the India Museum’s founding manifesto and evolving ambitions.

The museum of the East India Company formed, for a large part of the nineteenth century, one of the sights of London. In recent years, little has been remembered of it beyond its mere existence, while an assumed negative role has been widely attributed to it on the basis of its position at the heart of one of Britain’s arch-colonialist enterprises.

Extensively illustrated, The India Museum Revisited surveys the contents of its multi-faceted collections—with respect to materials, their manufacture, and original functions on the Indian sub-continent—as well as the collectors who gathered them and the manner in which they were mobilized to various ends within the museum.

From this integrated treatment of documentary and material sources, a more accurate, rounded, and nuanced picture emerges of an institution that contributed in major ways, over a period of eighty years, to the representation of India for a European audience, not only in Britain but through the museum’s involvement in the international exposition movement to audiences on the continent and beyond.
 

Curators make many decisions when they build collections or design exhibitions, plotting a passage of discovery that also tells an essential story. Collecting captures the past in a way useful to the present and the future. Exhibits play to our senses and orchestrate our impressions, balancing presentation and preservation, information and emotion. Curators consider visitors’ interactions with objects and with one another, how our bodies move through displays, how our eyes grasp objects, how we learn and how we feel. Inside the Lost Museum documents the work museums do and suggests ways these institutions can enrich the educational and aesthetic experience of their visitors.

Woven throughout Inside the Lost Museum is the story of the Jenks Museum at Brown University, a nineteenth-century display of natural history, anthropology, and curiosities that disappeared a century ago. The Jenks Museum’s past, and a recent effort by artist Mark Dion, Steven Lubar, and their students to reimagine it as art and history, serve as a framework for exploring the long record of museums’ usefulness and service.

Museum lovers know that energy and mystery run through every collection and exhibition. Lubar explains work behind the scenes—collecting, preserving, displaying, and using art and artifacts in teaching, research, and community-building—through historical and contemporary examples. Inside the Lost Museum speaks to the hunt, the find, and the reveal that make curating and visiting exhibitions and using collections such a rewarding and vital pursuit.

CURRENTLY UNAVAILABLE

Coined by Kimberlé Crenshaw in the late 1980s, intersectionality makes the case that dimensions of identity, such as gender and race, cannot be understood in isolation from each other because they work together to shape lived experience. As digital humanities has expanded in scope and content, questions of how to negotiate the overlapping influences of race, class, gender, sexuality, nation, and other dimensions that shape data, archives, and methodologies have come to the fore. Taking up these concerns, the authors in this volume explore their effects on the methodological, political, and ethical practices of digital humanities. Essays examine intersectionality from a range of positions: the influence of overlapping identities on scholars within the digital humanities community; how the fields in which they work are subject to competing tensions created by intersecting power structures within digital humanities and academia; and the methodological possibilities and scholarly potential for intersectionality as a framing theory in digital humanities scholarship.

This book explores medieval cityscapes within the modern urban environment, using place as a catalyst to forge connections between past and present, and investigating timely questions concerning theoretical approaches to medieval urban heritage, as well as the presentation and interpretation of that heritage for public audiences. Written by a specialist in literary and cultural history with substantial experience of multi-disciplinary research into medieval towns, Medieval Cityscapes Today teases out stories and strata of meaning from the urban landscape, bringing techniques of close reading to the material fabric of the city, as well as textual artefacts associated with it. Deriving from the author’s own experience in urban regeneration and heritage interpretation projects, case studies – such as the development of a public art installation at a medieval ruin site and the development of a pavement marker trail – provide ways into exploring broader questions about relationships between the medieval and modern city.

An argument for the importance of circulation in the study of museum collections, both past and present.

How did the process of the circulation re-examine, inform, and unsettle common assumptions about the way museum collections have evolved over time and space? Mobile Museums presents an argument for the importance of circulation in the study of museum collections, both past and present. It brings together a diverse array of international scholars and curators from a variety of disciplines to consider the mobility of collections, especially in the context of Indigenous community engagement. By foregrounding the question of circulation, the book represents a paradigm shift in the understanding of the history and future uses of museum collections. Taking on a global perspective and addressing a variety of types of collection, including the botanical, ethnographic, economic, and archaeological, the book helps us to understand why the mobility of museum collections was a fundamental aspect of their history—and why it continues to matter today.
 

Museums have long been viewed as exclusive, excluding, and as antiseptic to intimacy. In the past few decades, however, humanized experiences—cultivated by curators, educators, artists, activists, and marketers alike—have emerged as the reason for being for these cornerstones of community. Such experiences are often possible only in museum settings, where cultural exploration, probing conversation, and safe risk-taking can occur in spaces now becoming sacred through inclusiveness.

This book brings together an interdisciplinary collection of essays examining the kinds of human experiences and interactions that have converted the once-sterile museum into a space of enlivenment and enrichment, as well as physical and emotional well-being. The essays focus for the first time on the uniquely human and humanizing experiences to be found in the collections, programs, exhibitions, and spaces of today’s museums.

Researchers and archivists have spent decades digitizing and cataloguing, but what does the future hold for book history? This book explores the potential of network analysis as a method for medieval and early modern book history. Presented through case studies of the Cotton Library, the Digital Index of Middle English Verse, and the Pforzheimer Collection, this book offers a blueprint for drawing on extant scholarly resources to visualize relationships between people, text, and books. Such visualizations serve as a new form of reference work with the potential to offer new, broad insights into the history of book collecting, compilation, and use. This volume gives a realistic look at the decision-making involved in digital humanities work, and emphasizes the value of so-called "mechanical" labour in scholarship.

Posterity Is Now is about doing—about how to do—museum anthropology, collections stewardship, and collaborative research based on working in collaboration with Indigenous communities. Guided by values-centered practice, this book shows how following Indigenous communities’ lead, being flexible, and creating a welcoming environment to build essential relationships can reorient museums to support cultural continuity instead of merely preserving objects.
 
In this handbook based on over twenty years of teaching and practice at the intersection of museums, anthropology, and Indigenous peoples, Jennifer A. Shannon covers both the theoretical (i.e., exploring the idea of objects as kin) and the pragmatic (i.e., guidelines for how to design and budget collaborative projects). She advocates for fundamental change in how anthropological research design and practice are done within and beyond the museum and how leadership and staff view the very purpose of the museum. She also demonstrates how collaborative museum anthropology can be a model for the fields of anthropology, public scholarship, and social science research more broadly.
 
Posterity Is Now is a starting point, a “companion to practice,” written in accessible language and equally relevant for use in university classrooms, by qualitative researchers, and by practitioners in museums and cultural centers.
 

This book explores ways in which the medieval narrative past has been re-imagined in contemporary Austria. Focusing on the Styrian Literature Pathways of the Middle Ages, the Nibelung monuments in the cities of Tulln and Pöchlarn on the Danube River, and the Siegfriedskopf at the University of Vienna, it argues that each installation constructively applies medievalism to the process of working through the twentieth-century past. Sterling-Hellenbrand uncovers how medieval texts have been re-created in the Austrian landscape and how public installations make visible the values of the communities that build them. The author demonstrates how these modern installations facilitate an innovative process of engaged remembering: they prompt us to initiate challenging conversations about the past to tell different stories for the future.

The St. Thomas Way is a new heritage route from Swansea to Hereford that invites visitors to step into the rich and complex history of the medieval March of Wales. This volume brings together studies and reflections by those involved in the project, explores the St. Thomas Way as a visitor experience, and offers new insights into commemoration, "sense of place," and pilgrimage today. This book is for readers interested in medieval cults of the saints and pilgrimage traditions, especially those of St. Thomas of Hereford; medieval and modern day pilgrimage; those with a professional interest in heritage, tourism, and regional development; and scholars interested in the process of developing research into public-facing projects and in the application of digital methods and tools in heritage contexts.

In almost thirty interviews, Donatien Grau probes some of the world’s most prominent thinkers and preeminent arts leaders on the past, present, and future of the encyclopedic museum.

Over the last two decades, the encyclopedic museum has been criticized and praised, constantly discussed, and often in the news. Encyclopedic museums are a phenomenon of Europe and the United States, and their locations and mostly Eurocentric collections have in more recent years drawn attention to what many see as bias. Debates on provenance in general, cultural origins, and restitutions of African heritage have exerted pressure on encyclopedic museums, and indeed on all manner of museums. Is there still a place for an institution dedicated to gathering, preserving, and showcasing all the world’s cultures?

Donatien Grau’s conversations with international arts officials, museum leaders, artists, architects, and journalists go beyond the history of the encyclopedic format and the last decades’ issues that have burdened existing institutions. Are encyclopedic museums still relevant? What can they contribute when the Internet now seems to offer the greater encyclopedia? How important is it for us to have in-person access to objects from all over the world that can directly articulate something to us about humanity? The fresh ideas and nuances of new voices on the core principles important to museums in Dakar, Abu Dhabi, and Mumbai complement some of the world’s arts leaders from European and American institutions—resulting in some revealing and unexpected answers. Every interviewee offers differing views, making for exciting, stimulating reading.

Includes interviews with George Abungu, National Museums of Kenya; Kwame Anthony Appiah, New York University; Homi K. Bhabha, Harvard University; Hamady Bocoum, Musée des Civilisationes Noires, Dakar; Irina Bokova, UNESCO; Partha Chatterjee, Columbia University; Thomas Campbell, Fine Arts Museum of San Francisco; James Cuno, J. Paul Getty Trust; Philippe de Montebello, New York University; Bachir Souleymane Diagne, Columbia University; Kaywin Feldman, National Gallery of Art; Marc Fumaroli, Collège de France; Massimiliano Gioni, New Museum; Michael Govan, Los Angeles County Museum of Art; Camille Henrot, artist; Max Hollein, Metropolitan Museum of Art; Henri Loyrette, Musée du Louvre; Jean Nouvel, architect; Zaki Nusseibeh, United Arab Emirates; Mikhail Piotrovsky, State Hermitage Museum; Grayson Perry, artist; Krzysztof Pomian, École des Hautes Études en Sciences Sociales; Mari Carmen Ramírez, Museum of Fine Arts, Houston; Fiammetta Rocco, The Economist; Sabyasachi Mukherjee, CSMVS Mumbai; Bénédicte Savoy; Collège de France; Kavita Singh, Jawaharlal Nehru University, New Delhi; Amit Sood, Google Arts & Culture.