It was overheard, word for word, by High Street Ken at the Independent…
Archive for the ‘Historical Application and Problems’ Category
Magna Carta in New York City
A volcano, of which you may have heard, recently left this author stranded in New York.
Boo hoo, I know.
Alas, flights reopened just too early for me to get along to have a look at a copy of Magna Carta, which was in town for a visit.
(Magna Carta was also stranded in New York. Don’t ask me why.)
Anyway, I am glad I have a subscription to The New Yorker, because it was that excellent magazine which reported on the exhibition. My copy arrived in London shortly after I did. Go figure, as they say across the Pond.
You can read the (rather amusing) article here.
HBO's The Pacific
Not medieval alert: I’m off to a screening today of the first two episodes of ‘The Pacific’. This is the Hanks/Spielberg follow-up to the peerless ‘Band of Brothers’, which followed Easy Company, (part of the American 101st Airborne Division ) from the Normandy landings in June 1944 to the fall of Berlin. I confess I am unnaturally excited. The Pacific shifts the story to the eastern theatre. This part of the war doesn’t get taught or talked about half as much as events in Europe, perhaps because conditions were even more dreadful, the fighting perhaps more barbaric and the human cruelty at least as grotesque. Will this translate into good television? Spielberg, Hanks and HBO have form, so I suspect it will. Will it be easy viewing? I doubt it.
Here’s the trailer:
The Bayeux Tapestry - have it your way
Here’s fun. Why not pimp the Bayeux Tapestry? Proper nerd fun. You can reinvent history by dragging and dropping soldiers, kings, beast, buildings and boats into the most unlikely combinations, adding text to move your story along etc etc. I made a loose six-frame mashup riffing on William the Bastard’s invasion of England in 1066, Lemuel Gulliver’s visit to the Houyhnhnms, and this morning’s breakfast. It was quite fun. I can’t get the Gallery to work at the moment or I’d post a screengrab. But go, see this masterpiece of the Internet age for yourself…
Hat-tip: Geeks are Sexy
Bosworth Field - rediscovered
Looks from a quick buzz through the online papers that the Times has the scoop on the rediscovery of the true location of Bosworth Field, where Richard III came to a sticky end…
Here's a recipe for medieval pancakes
Seeing as it’s the day for it. Click here.
(Note: I’ve not tried this, so can’t guarantee the quality. It’s Nigel Slater all the way in our house tonight.)
The scrapheap of history, part II
According to this report at the Telegraph, another English university has directed cuts in Government funding towards parts of the History faculty.
Sussex University is reportedly considering a proposal to withdraw from research and specialist teaching “in English social history before 1700 and the history of continental Europe before 1900”. Not as drastic a cut as the Telegraph would spin it up to: their standfirst, referring to a letter published in today’s paper, is ‘Academics have attacked a decision by a top university to scrap research into English history before 1700′, which is technically accurate but implies a broader raft of cuts than actually seems to be proposed.
Nevertheless, it is part of the trend reported earlier in the week at King’s College, London, where the Paleography chair is to be made redundant. No doubt we will see a further trickle of these sorts of stories over the coming weeks, as academics dig in to protect their own specialist subjects and departmental funding by kicking up as big a stink as they can, knowing that the conservative press can use each case study as a political grenade to hurl at Labour.
Of course, the truth is that the Tories will have to cut at least as much from university budgets as Labour proposes to do. Will they be able to cope with the same sort of criticism, should more non-profitmaking, specialist courses and teachers go to the wall? Furthermore, how long will British universities allow themselves to be driven by the wind of political economics? Strikes me that Oxbridge and any number of the better redbricks have little to lose and everything to gain by cutting as loose as they can from government funding and looking towards an American model of private payment supported by a massively broadened scholarship system. It wouldn’t look pretty to the left, but the quality and depth of British higher education would stand a far better chance of maintaining its international prestige….
Writing goes to the wall
As has been reported today, King’s College, London, is directing some of the pain of its wider academic cutbacks towards the faculty of paleography, where the UK’s only specialist chair in the discipline is being abolished from August.
The protest has been rather noisy. There’s already a Facebook group with more than 4,000 members, and an online petition with more than 5,000 signatories. Mary Beard has written intelligently about the subject at the Times, calling King’s in particular on its preposterous use of academic sub-committee speak in justifying its wider cutbacks (They’re aiming “to create financially viable academic activity by disinvesting from areas that are at sub-critical level with no realistic prospect of extra investment” - got that?) And David Blackburn at the Spectator has implied that this is just another consequence of Labour’s economic incompetence, cultural vandalism, cackhandedly egalitarianist dumbing-down etc.
Now, all this foot-stamping is hardly on the scale of the NHS hashtag business, or that hullaballoo Jan Moir attracted for going overboard when the lad from Boyzone died. But for the abolition of a paleography seat to have caught national headlines and thrown up such sizable breakers on the web is still interesting in itself.
Paleography is a highly technical and difficult discipline. It is something that could and can only be done professionally when subsidised in a university - few and far between are the high-flying paleography jobs in the private sector. Its value is as a humanity per se - it advances our understanding of our common cultural heritage, decodes the past the better to elucidate the present, and so on. Hanging the paleographers out to dry because - essentially - thems don’t pays thems way really does misconstrue the whole business of paleography.
But then again, these are the times. The entire nation is busy opening a vast, hitherto unheeded pile of bank statements, final demands etc, and realising just how much we cannot afford. The financial pressure on universities has never been greater, and is unlikely to ease whoever wins the next election. In such an environment, faculties that can be seen as drains on a university’s balance sheet, rather than attractors either of private investment or heavy student demand, are going to be extremely vulnerable to the sort of expedient cutbacks that could see unglamorous but culturally valuable areas of expertise snuffed out for a generation or more.
I’m about as far from a Guardian-reading anti-capitalist crybaby as it gets. But this, I will concede, is the problem with unregulated market forces. They don’t suit paleography faculties one bit. Not in a recession, at any rate.
Hollywood and the Middle Ages. Yes, again
Idling around on the Internet, I came across this academic article from 1998 discussing ‘The Ahistoricism of Medieval Film’. It’s more than a decade old and it’s rather long, but quite a good read if you’re interested in the relationship between the history of the Middle Ages and the way the period is depicted in the recent cinema.
There’s a good deal of harrumphing in it about what the author, Arthur Lindley, calls the ‘Disneyfication of the Middle Ages’. But there is also a thoughtful discussion of the ways in which filmmakers map the cultural and political concerns and debates of the present onto the malleable material of the past. The Middle Ages are particularly ripe for this, suggests Lindley, since they are essentially divorced from the present in terms of our contextual awareness of events and environment, but are also familiar in a variety of important imaginative modes, many of which are specifically attractive to filmmakers.
Worth reading. Especially so in anticipation of Ridley Scott’s forthcoming Robin Hood film. Russell Crowe is touted to be a dark Robin: the greenwood freedom fighter now painted as amoral and violent, rather than the heroic socialist of the late twentieth century. There are few other legends which work quite so effectively as historical palimpsests.





'Plantagenet' on BBC Radio 4
The first episode, ‘What is a Man?’ focused on the squabbles between Henry II and his sons, Henry the Young King, Richard and Geoffrey, which dominated his reign from the Great War of 1173/4 until the elder Henry’s death in 1189. Fantastic material: this is perhaps one of the stormiest stories in the whole of the later Middle Ages, as the politics of dynasty-building are played out through the folly of human ambition. There was also one hell of a war (in 1173/4), which involved virtually every major magnate from Scotland to the Pyrenees.
Walker’s storytelling was surprisingly tame. He painted the scene by numbers: the conflict between family and kingship exposing the troubled contradictions between the instincts of kings and princes, and the instincts of fathers and sons. But in doing so, the politics were oversimplified and watered down, the characters never fully fleshed out, and the battles literally non-existent. Here were a load of rich folk squabbling. Nothing more.
There were also some clumsy inaccuracies, and while I don’t have any massive objection to historical liberties being taken in the name of improving drama or dialogue, in this case they didn’t really seem to do that.
For example: the old myth about Henry’s family descending from the devil was rehashed. Fine, but none of them subsequently came across very diabolical. A bit peeved and pottymouthed, maybe. But hardly Satanic. Likewise with the Eleanor of Aquitaine stereotype: as per usual she was painted as the jilted poet queen of the south, but in her scene with the old king, as he swept her off to exile in England following her conniving in the rebellion of 1173, she was unflustered and leaden.
There were also a number of howlers. Henry as ‘the King of Anjou and England’? That’d be the King of England, duke of Normandy and Aquitaine, count of Anjou (etc) then. And right at the start, Henry II was addressed as ‘your majesty’ - a term introduced for the English monarch by Henry VIII. There were more, but it’s pedantic to list them.
I feel bad hating on a serial I was really looking forward to, and which I applaud Radio 4 for commissioning. But it was just a little bit thin. As I have mentioned here before, I am writing the history of the Plantagenets at the moment, for publication next year. So I wished this series nothing but well - these rich and wonderful times deserve their place in the zeitgeist. I’m hoping it will improve next week, when the story moves on to Richard I’s reign. I will certainly be tuning in.