By Ana Núñez (@anac4_nunez)
The Byzantine princess Anna Komnene (1083-1153) appears to have been a most devoted daughter. The first-born of the Byzantine Emperor Alexios I Komnenos (r.1081-1118), Anna took it upon herself to continue the work started by her late husband, Nikephoros Bryennios, and write a history (The Alexiad) of her father’s eventful imperial reign. From the outset her goal is clear: to record the events of her father’s reign so that they are not ‘swept away on the flood of Time into an ocean of obscurity’. Thus, she proceeds to compose a fifteen-book history of her father’s rule and his many great struggles and triumphs within the borders of the Byzantine Empire and beyond.
By Tom Smith (@TomEtesonSmith)
For any football fan, and even for many who don’t usually indulge in the ‘beautiful game’, the arrival of the World Cup every four years provides pure escapism. Even in England, the disappointment of a predictable penalty shoot-out defeat is assuaged by the tournament’s association with long hot summer days, the colours and sounds of packed stadia, and the creation of iconic images on the pitch below. Simply put, the World Cup seems to exist in a vacuum which transcends any given moment in world history. This year’s tournament perhaps exemplifies this fact – at a time when tensions between Russia and ‘the West’ are at their highest since the Cold War, representatives from all over the world can gather on Russian soil to play football. Murmurings about corruption, boycotts, and hooliganism bubble under the surface, but in the build-up to kick-off excitement about the sport itself takes over, along with a shared sense that the show must go on. Read more
By Mobeen Hussain (@amhuss27)
As historians, we are often used to thinking about an archive as a fixed set of documents kept in a static physical location. An appropriate historical source is often considered as such only if it can be verified by ‘real’ material from a ‘real’ archive. Yet, archives mean different things to different researchers. It can take the form of a conventional repository of documents or a database. For others, spaces like the home are active archival sites. World historians, and specifically those working on the social and cultural history of empire, often contend with the colonial archive and are required to read along the archival grain, as Ann Stoler puts it. One way of combating the limitations of the colonial archive is to supplement it with other materials such as oral memory.
by Eleanor Russell
This famous sketch of a rhinoceros was created in 1515 by the influential German artist, Albrecht Dürer, reflecting the growing interest in foreign curiosities that had emerged in tangent with the overseas voyages of exploration, commerce and conquest by the Spanish and Portuguese. The rhinoceros had been given as a gift by the ruler of Cambaia to Afonso de Albuquerque, the Portuguese viceroy in India, who in turn gifted it to king Manuel I of Portugal.
While the drawing itself provides a great deal of information about art and Orientalism in the Renaissance, among other things, the backstory of the painting is equally as fascinating. How did Dürer, then living in Nuremberg, ever come to make such a sketch?
by Tom Smith
What does it mean to write a history of a culture other than our own, and how do we do this sensitively? This is an issue upon which historians rarely reflect explicitly. My dual passions for American history and Pacific Ocean history have been fuelled not by any particular personal investment or cultural immersion, but by pure fascination. While I’ve visited the United States a handful of times, dipping my toes in the waters of San Francisco Bay is the closest I’ve ever come (geographically speaking) to the Pacific cultures whose histories I claim to represent. Read more