This post has kindly been written for us by workshop organiser Dr Eliza Filby
Do you suffer from a lack of confidence or nerves when you speak? Are you finding that you spend a lot of time writing conference papers that fail rather than fly? Aspiring historians can make as much impact in what they say than as from what they write – whether it be through teaching, job presentations, media engagement or conference papers and yet we receive very little helpful training in core communication skills. Indeed in the age when students are now ‘customers’ and academics are increasingly encouraged to disseminate their research to a broader audience, it has never been more important for academics to be effective communications.
Most public speaking course however are delivered by ‘external’ coaches who have no understanding of what is required in the academic world. The one-day course provided by the IHR is designed for historians (at any stage of their career) who wish to rid themselves of nerves and inhibitions and to think imaginatively and broadly about how to communicate their work to various audiences. The course is entirely interactive; you will not sit there and listen to ‘experts’ but will be called upon to practise your skills.
Working with a professionally trained actor and an academic, this workshop will take participants through the process of how to write and deliver a speech. In the first session you will cover how to structure a speech for different audiences, the use of appropriate language and imagery, audio-visual aids and how to master the academic Q&A. In the second session, we will focus on your performance. Drawing on acting techniques used in the leading drama schools, participants will discover how to improve their diction, resonance, range and articulation as well as relaxation and breathing techniques to calm nerves. For this day, all participants will need to prepare 150-word punchy summary of their research designed for a non-academic audience (on printed paper) as well as one powerpoint slide designed for an academic audience (on a memory stick). All participants will present their work, be taken through the Q&A and receive individual feedback.
This post has kindly been written for us by Professor Richard Hoyle, Director and General Editor of the Victoria County History.
One thing which is pretty certain is that everyone who attends this year’s local history conference sponsored by the IHR and VCH lived through a part of the twentieth century – quite probably a fair chunk of it. And yet this conference starts with the premise that the twentieth century is often the hardest and most elusive period for local historians to deal with, being of our own times, familiar, yet strangely out of reach. It saw enormous upheavals in institutions, ownership and landscape, and in individual experience. Many of the familiar sources to address these sources disappear – so estate records – whilst others loose much of their evidential value (newspapers). Many modern records are closed to users: others may not even exist, having been swept away by records management. Yet other possibilities emerge, notably oral history, and for no other period do we have such abundance of maps and, of course, photographs (including those taken from the air).
This is a conference is for everyone who wants to contribute to an emerging agenda of looking at the relatively recent past. It offers guidance on some of the sources whilst describing, through worked examples, how the researcher can make their own contribution to deepening knowledge and understanding of the twentieth century. It explores what is before us, and is sometimes too obvious to see.
This post has kindly been written for us by Dr Sian Barber, author of Using Film as a Source (MUP, 2015), the first in the IHR Research Guides Series.
What is the value of studying film? How can feature films tell us anything about the time in which they are made? Why do films look different in different periods? How do films address social issues? And how can film be used as a historical source?
These questions are central to anyone engaged in the study of film. However, film can be used in variety of different ways as part of research; not everyone uses film in the same way. The skills acquired in the fields of history, politics, English literature, sociology, cultural and media studies can all help to use film as ‘historical evidence,’ but the study of film is a discipline in its own right. Film cannot be treated simply as a historical source, but rather needs to be understood as a distinctive medium, possessed of complex visual and textual codes.
This work is intended to provide a starting point for those seeking to use film as part of research. It offers advice on research methods, film-specific theory and methodology and film-based analysis. It draws on the disparate yet frequently complementary disciplines of film and history to offer advice for students and researchers. It is deliberately intended to speak to the preoccupations of those engaged in the study of film, either at undergraduate or Masters levels, as well as those who want to use film as part of research in cognate disciplines such as social and cultural history, politics, modern languages and sociology.
This guide includes sections on working with different kinds of moving images, how to explore visual sources, how to undertake archival film-related research and how to use film theory. It addresses the complexities of studying moving image and the conventional problems associated with using films as sources, as well as broader issues related to film historiography and method. It also includes a number of detailed case studies of individual films. Everything included is intended to be an example of good research practice, whether it is conducting an interview, visiting an archive, undertaking textual analysis or defining a research question.
We’re gearing up for this year’s Oral History Spring School: a unique chance to spend three days getting stuck into some in-depth discussions about oral history.
We’re especially excited this year to have Professor Paul Thompson starting off with discussion of oral history worldwide, while other tutors and topics include Professor Joanna Bornat on analysis and reuse of oral history archives, and Professor Jenny Harding on emotion and intersubjectivity. For more information you can see the full programme which is now available here.
The three day course covers the theory and practice of oral history at an advanced level, and is aimed at students with some prior experience in recording and knowledge of oral history (excellent introduction courses are provided at the British library).
This is the fourth year the course has run, and we always learn something new and enjoy discussing everyone’s unique projects and experiences. Previous student comments include the following:
‘There was an enormous amount of fascinating discussion. I was particularly pleased to get a basic grounding in the theoretical developments and turns in oral history’.
‘There is a general lack of training related to using oral history in an academic context. This course was a very welcome development’.
The course has always recruited well so if you’re keen then we recommend booking up promptly to ensure a place. Hope to see you there!
Although the SHARD project ended some time ago, in July 2012. The project identified four basic principles of digital preservation for researchers – start early, explain it, store it safely and share it. The only thing I would change is a little re-arrangement, putting ‘Share It’ as the first step. As someone working in digital preservation, I see many things lost or threatened mainly because nobody really saw a good reason to preserve them until it was almost too late. For researchers, engrossed in research, finding, creating and using data, writing research outputs, managing projects and keeping funders happy, it’s easy to forget digital preservation, or just not think about it at all. Having a positive reason to preserve moves digital preservation up the agenda. And sharing gives us that reason.
Sharing your research material and data is beneficial. In one way or another, the main reason to carry out preservation at all, on any level, is to be able to share your work with others, now and in the future. Sharing can help you gain more impact, enhance your reputation and increase your chances of being funded as more and more research funders are asking for plans for digital preservation in their calls. It makes your work not only accessible, but usable. Investigate making use of repositories and data centres as places to both safely archive and also share your work. Remember to be sensible with sharing, and use redaction or embargo when required.
Start early is key to any successful approach to digital preservation, and one that we also teach to digital archivists. It’s simple really. The sooner you start thinking about what you want to preserve and how and when that is going to be done, the more chance you have of not hitting problems ahead. Early planning also means you can include everyone who is involved in a research project in the discussion, which can also help to identify and issues you might not have thought about.
Explain it is the next step in sending your research materials into the future. Context is vital in digital preservation. Material and data without any context has no meaning. If it has not meaning, there is little point in preserving it. Provide context through explaining any subject-specific terms, learning about and applying suitable metadata to describe our content and describing your research process. Then future researchers will be able to make sense of your work.
Store it safely is the step that many people think is covered by backing up your work. Quite simply – backup is not preservation and it’s not enough to make sure your content. You need to store multiple copies in different locations, use open source file formats to help your files stay readable into the future and be careful how you and others handle and access files. You also need to be selective. There’s no need to keep everything, and it’s costly to do so. Seek advice from a library or preservation service about how best to store content for preservation.
TheData Preservation Online Training resource is available onPORTand guides students through the reasons to preserve and share data and challenges that they might face. Stephanie Taylor is a senior consultant on research technologies in the Arts Research Technologies division of the University of London Computer Centre (ULCC). For more details about the work done on SHARD see theULCC da Blog.
This post has kindly been written for us by the course tutor, Dr Lynne Walker
Historical researchers are often drawn to material and visual culture but can feel out of their comfort zone when confronted with archives which include images and ‘things’ rather than written and printed texts alone. This course was designed to overcome these difficulties and provide tools for the location, selection and interpretation of visual sources. Central to the course is the consideration of visual sources as evidence in historical practice, featuring diverse media from cartoons to political portraits, in still and moving images, in print and online. It suggests ways in which understanding visual sources can enhance the study of modern history by posing new questions and suggesting new answers to thorny research issues with material unavailable elsewhere. Staff and students consider together issues such as the importance of not using images merely as illustrations of previously concluded arguments, and the necessity of placing images in context and in relation to documentary sources and other images. This critical, comparative approach to visual sources offers insights and in Burke’s phrase, ‘helps historians think creatively about the past’. Representation is presented as a key concept for understanding visual sources and moves the discussion from the image itself to its reception and the position of the viewer in the making of meaning, its analysis and interpretation.
The course is built around lectures, seminar discussion and visits to archives, museums and libraries. Students have the opportunity to talk in detail to archivists, librarians and curators about their own research needs and find out more about how particular libraries, museums and other archives may be useful to them. These visits also help familiarise students with institutions where research material is deposited and we have found over the years that this has a positive, demystifying effect, which builds confidence and promotes productivity.
An Introduction to Visual Sources for Historians takes the form of full-day sessions held over the course of five weeks (the first three sessions are on Tuesdays; the final two on Mondays). The sessions will normally start with a lecture, followed by a seminar discussion. After lunch each week, the group will visit a gallery or institution of relevance to the week’s topic. Individual attention is a hall mark of the course.
As memories of Christmas fade and you are left wondering how to fill the dark nights, there could not be a better time to distract yourself from the winter and to sharpen up your historical skills with the IHR’s exciting programme of research training!
Starting very soon is An Introduction to Oral History, the IHR’s long-running and very popular guide to undertaking historical research by interview. Taught in ten weekly sessions by Dr Anna Davin from the History Workshop, this is a comprehensive outline of how to set about oral history research for those just starting out: it covers both the nuts and bolts of recording methods and more complex questions of ethics, questionnaire composition and how to get the most from respondents. We only have a few places left, so do please hurry with your application.
For historians who want to use non-textual material but don’t know where to begin, our revised and re-vamped Visual Sources for Historians course is the answer. Each week for five weeks we shall explore a different theme: Local/Global; Visualising Britain and the Sea; Material Culture and the Spatial Turn; Historical Subjects; and History and the Media. The full-day sessions will consist of lectures, discussions and visits to museums, galleries and archives such as the Royal Institute of British Architects, the Royal Geographical Society, the Royal Museums, Greenwich and the National Portrait Gallery. Students will learn the questions to ask and the ways to interrogate visual culture in art, cartoons, film and architecture to bring them to bear upon historical analysis.
For those, on the other hand, who want to use the internet as a historical research tool, the one-day Internet for Historical Research workshop will provide you with all the knowledge and skills you require. Covering all aspects of deploying the net as a research tool, and including abundant advice on search strategies, this course will show how to find and use the abundance of primary and secondary source material now available online, as well as teaching how to use the net as a way to promote and archive your own work.
Lastly, starting in March as the weather warms up and hopeful thoughts of spring start to blossom, what could be more appropriate than the IHR’s course Historic Gardens: Research in Action? This is the perfect introduction to how to use archival research in restoring, conserving and managing historic gardens. Taught in eight weekly sessions, the course will be based on a mixture of classroom study and site visits, introducing students to the rich resources for the study of garden history in and around London and serving as an excellent taster for the IHR’s MA in Garden and Landscape History.
As the year draws to a close, we at the IHR are looking forward to January’s research training programme, starting almost as soon as term begins with Public Speaking for Historians. Run by Dr Eliza Filby from KCL and Charlotte Endcott, a professional actor, this extremely interactive one-day workshop will blend acting techniques with academic practice and show how to communicate confidently, concisely and effectively in lectures, conference presentations, job interviews and all the many other contexts in which we need to put our views across. When this course ran for the first time last year, participant feedback was the ecstatically enthusiastic we have ever received!
Starting soon afterwards is An Introduction to Oral History, the IHR’s long-running and very popular guide to undertaking historical research by interview. Taught in ten weekly sessions by Dr Anna Davin from the History Workshop, this is a comprehensive outline of how to set about oral history research for those just starting out: it covers both the nuts and bolts of recording methods and more complex questions of ethics, questionnaire composition and how to get the most from respondents.
We still have one or two places left on the next running of our flagship archival course, Methods & Sources for Historical Research, which will be happening from 26-30 January. This intensive course consists of a day of lectures on how to find and use primary source material in archives, museums and other repositories, followed by four days of visits, where students will learn about a wide range of archives and the opportunity to talk in detail to archivists and curators about their own research.
Dr Simon Trafford, head of research training at the IHR, in his natural environment
Training in research skills for young and aspiring researchers has been central to the IHR’s remit since its foundation in 1921. In recent years, the training programme has expanded and diversified, reflecting both a great broadening in the scope of historical enquiry and also the increasing prevalence of highly specialised approaches that require of their practitioners detailed technical knowledge or computing skills. In the 2014-15 programme, which has just been announced, we have courses covering every aspect of current historical practice, ranging from the very traditional skills of archival use and analysis of written sources through to the currently burgeoning area of historical GIS.
Taught by University of London historians and other expert practitioners from national institutions, the programme has been designed to help students to acquire all the techniques necessary to their research quickly and inexpensively. The Institute’s training will also be of interest to those already established in an academic career but wishing to acquire or renew skills in particular types of specialist analysis. New courses will be announced throughout the year, but please see here for a complete listing of the current programme.
The Institute of Historical research are pleased to announce the release of InScribe Module 2: Script. This is the second instalment from the online platform InScribe: Palaeography Learning Materials and follows the introductory module released in January 2013.
The study of pre-modern scripts involves being able to identify specific letters, understand what is written down in a hand that is not necessarily familiar to us today, and being able to recognise the indicators that tell us the origin and date of production. The study of scripts in this way (Palaeography) is a useful skill to process especially for students who study any aspect of the pre-modern world.
Knowledge of the basic principles of Palaeography and the main features of particular script formats is an unavoidable requirement for anyone with an interest in the Middle Ages and a need to refer to primary sources. InScribe has been developed with that in mind. It is not a resource for expert Palaeographers, rather it is aimed at students that are required to consult primary sources (either medieval manuscripts or documents) and offers them with a chance to acquire the required knowledge and skills. Users are presented with a variety of textual and audiovisual resources that cover the whole medieval period with a focus on the English context. Besides detailed descriptions of each script, the student is given the opportunity to put that in practice by transcribing a range of selected manuscripts in the newly-developed transcription tool.
InScribe Module 2: Script
After the success of the introductory (free) module on General Palaeography, the School of Advanced Study have produced a new, second online module for our successful InScribe palaeography course. This module focuses on scripts, providing an opportunity to determine the origin and date of production of any given manuscript from medieval Britain. It starts with Insular Minuscule (a script form popular in sixth-century Britain) and ends with Gothic types in the 16th century. The module’s contents include:
Section 1 Introduction
Section 2 Insular Minuscule
Section 3 Anglo-Saxon and Caroline minuscule
Section 4 The Protogothic Transition
Section 5 The Gothic Explosion
As with the previous module, the Scripts module contains advice, videos showing Palaeographers as work, and various opportunities to practise your transcription and identification skills using digital copies of manuscript pages.