What should prospective history students read over the summer?

Laura Sangha and #twitterstorians

tweetLast week I asked historians on twitter what three books they would recommend for prospective students to read over the summer – those students starting a history degree in September. I got a lot of responses (thanks very much, brilliant #twitterstorians), and you can read the full list at the end of this post. Before you do, here are a few thoughts that struck me about summer reading for history students.

Question: exactly what is the best way to prepare for studying history at university? People evidently had widely differing opinions on this. Or rather, the books that they recommended seemed to suggest differing opinions. It all did seem to add up to some key themes though, which I have summarised as:

Bloch1) Students need to get to know the discipline, since what they did at school is not representative of it. So they should read ‘what is history’ books which explain why and how academics study the past. These might mainly cover historiography, or might be focused on issues that are fundamental to the discipline, i.e. what footnotes are, or why there is fiction in the archives. (See list section ‘The Historian’s Craft’).

2) Students need to think about the skills and techniques needed by historians. Therefore they should read ‘what is history’ books, but preferably ones with practical, hands on advice about how to read, analyse, write essays and research etc. Continue reading

Asking questions of speakers: top tips

Laura Sangha

Presentation ‘season’ has just begun at my University, where group and individual talks are part of the assessment for modules at every undergraduate level. Public speaking is apparently once of the most feared aspects of modern life, yet it is also a skill that students may well need in their future workplace, so it makes sense that all are called upon to regularly research, write and deliver presentations, building experience and confidence.

fear-of-public-speaking-40035

Many people aren’t fans of public speaking

At Exeter, the marking criteria is focused around preparation, content, structure, creativity and delivery, but students are also assessed on their handling of questions in a Q&A segment after they have presented. And it is this that has inspired this post. Of course, a presenter needs some good questions in order to be able to demonstrate the depth and scope of their knowledge in a Q&A session, but I have found that people can struggle to formulate queries and that they can as a result be a bit hesitant to raise their hand. So I have come up with some suggestions about the sorts of things that it might make sense to ask about, as a teaching resource I can point my students to. Please do add your own below the line. Continue reading

Food for Thought III: A Literary Critic and the Carnivalesque

Mark Hailwood

This is the third and final post in a series introducing some key theoretical concepts through the history of food and drink (see here for the first, here for the second). The previous post concluded on Pierre Bourdieu’s point that the cultures of different social groups were relational to one another. But what was the nature of this relationship? It can be interpreted in a number of ways. Elias, for instance, as I mentioned in the previous post, tended to think that the cultural practices and preferences of the elites gradually ‘percolated’ down through the rest of society. Sometimes a similar argument is made with reference to the term ’emulation’ – the idea that lower social groups tend to ape the culture of higher social groups, and that this in turn causes those higher social groups to reinvent themselves to maintain their sense of distinctiveness and superiority.

Bakhtin

Bakhtin

A rather different way of looking at the relationship between the cultures of different social groups can be seen in our next concept that has proved popular with historians of food and drink – Mikhail Bakhtin’s notion of ‘carnival’. Bakhtin was a Russian literary critic, most famous for his book about the French Renaissance humanist Francois Rabelais, published in 1965 (although written under the Stalinist regime during WWII) Rabelais and His World. In the book, Bakhtin argued that Rabelais’ work provided a valuable insight into what he called the ‘folk culture’ of early modern Europe. If Elias’ conduct books could reveal the eating and drinking culture of European elites, what Bakhtin termed ‘official culture’, then Rabelais had written a carefully observed account of the consumption practices and dispositions prevalent amongst ordinary men and women. Continue reading

Food for Thought II: Sociology – Civility and Habitus

Mark Hailwood

In this second of three posts introducing some key theoretical concepts through the history of food and drink (see here for the first) I’m going to move on to think about some of those borrowed from sociologists. The last post ended by stating that a concern with change over time plays an important role in the types of theories historians tend to like and dislike: and it helps to explain why they have been taken with our next key concept – the notion of the ‘civilising process’.

Norbert Elias

Norbert Elias

This was a theory first posited by the German sociologist Norbert Elias, back in 1939, but its main impact on Anglophone historians only came when it was translated into English in 1969, as: The Civilizing Process, Vol. 1: The History of Manners (1969). Its central claim was that between the middle ages (c.800AD) and the nineteenth century the manners of Europeans had become gradually more ‘civilised’ – by which he didn’t necessarily mean ‘better’ or more ‘progressive’ (he wasn’t passing judgement) but marked by increasing levels of self-restraint and self-control, especially with regards to violence, sexual behaviour, bodily functions, table-manners and forms of speech. By reading conduct manuals – guides to appropriate forms of social etiquette, a very popular genre – from across these centuries, Elias identified a shift away from an aristocratic honour culture in the middle ages which had seen aggression, violence, and the excessive consumption of food and drink as acceptable and laudable, towards an increasing sense of shame and repugnance towards all of these behaviours. Continue reading

Food for Thought: An Introduction to Theory via the History of Food and Drink

Mark Hailwood

Prologue

Most historians are not especially enthusiastic about theory. We tend to have an aversion to dealing with abstract concepts, and struggle to see how they might apply to what we work on. Instead, we feel much more at home when we are dealing with context; with specific evidence grounded in, and bounded by, time and place. But like it or not, theoretical concepts have played a major role in shaping historical research – though they are concepts usually borrowed from other disciplines, not produced by historians themselves – so ignoring theory is really not an option.

Doc Brown's thinking cap: not essential for understanding theory

Doc Brown’s thinking cap: not essential for understanding theory

This is as true of food and drink history as other types of history – perhaps more so. The history of drinking, for instance, might just seem like a series of amusing anecdotes (see my alehouse characters series) but really it is all about how we interpret the instances of eating and drinking that we find in the archives, how we use them to tell stories about the societies and cultures that they take place in. For this, historians of eating and drinking tend to rely on various theoretical concepts developed outside of history to try and make sense of the rituals of food and drink consumption that we find in the archives.

So, in the various courses I have taught about the history of food and drink in early modern England I usually have to broach theory at some stage. Trying to teach theory to undergraduate historians is rarely the easiest of teaching assignments, so what I try to do is to show how ideas have been applied to the specific field of food and drink history to help students see their relevance. The aim is not to provide them with a complete mastery of the concepts we discuss – I wouldn’t claim to have this myself – but rather to give them an introductory sense of them so that (a) when they come across mentions of them in the literature they will have an idea of what they mean, and (b) to provide them with a platform to build from should they wish to delve deeper into these concepts in their essays and projects.

Anyway, when recently backing up some computer files I came across the lecture I usually give on this theme, and thought that it might also work well as a series of blog posts that could serve as a very basic introduction to some of the key theoretical concepts used by historians – structuralism, habitus, the civilising process – that might be of interest to undergrads, postgrads, or anyone else who is keen to (or perhaps for a course they are taking, has to) engage with some theory but is a bit daunted by the prospect of delving straight into [insert archetypal daunting theory book here]. Anyone who is a master of these concepts might like to read on and helpfully point out where I get them wrong!

The lecture is a bit long for one post, so I’ll break it down into 3 posts over the next couple of weeks. Part I, below, deals with ‘Anthropology and Structuralism’; Part II will look at ‘Sociology: Civility and Habitus’; and Part III at ‘A Literary Critic and the Carnivalesque’. Tuck in… Continue reading

Thinking about doing a PhD: who, where and how?

Brodie Waddell

Over the past few months, I’ve been getting some enquires from people thinking about doing a PhD in history. I’ve found myself repeating the same thing in many cases, so I thought I’d set it out here in case it’s helpful for current MA students thinking about the possibility. In most cases, there are important personal factors to consider, but I think there are a few pieces of advice that apply more generally.

Note, however, that as an ‘early career’ academic, there is still plenty that I’m learning about the whole process, despite having finished my own PhD over five years ago. Your own thoughts would be very welcome.

Don’t do it!

When a PhD goes horribly wrong, it often turns into a nightmarish snake-cat that stalks you in the library...

When a PhD goes horribly wrong, it often turns into a nightmarish snake-cat that stalks you in the library…

Obviously I don’t believe that or I wouldn’t be writing this post, but I think there are lots of good reasons to not do a PhD right now, the most important being the terrible job market for new humanities PhDs. As innumerable blog posts and articles have said before: even if you are extremely smart, original, hard-working and self-sacrificing, there is a decent chance that you won’t be able to find a permanent academic job. If you are aware of that, and want to do a PhD anyway – perhaps because you’re not doing it to get an academic job, or perhaps because you are young, carefree and willing to roll the dice – then please read on… Continue reading

Little monsters part I: putting together a successful course on early modern history (or anything else for that matter)

Jonathan Willis

LittleMonsters.com_2013_July Most of the posts which appear on the many-headed monster are either related directly to historical research into the early modern period, or focus on other questions relating to historiographical concerns, methodological issues, theoretical problems or matters arising out of our experience as professional early modern historians.  Nothing wrong with that, I hope you’ll agree! But in this post, I’d like to do something slightly different.  There is a big aspect of life as an academic which is so far conspicuous by its absence from the pages of the monster (fellow heads, correct me if I am wrong…), and that is: teaching.  How, in other words, do we prepare for the important professional task of raising little monsters?

This is something that has been on my mind for several months now.  In September, I returned to a full teaching load after three years of research leave.  This involved taking over and contributing to existing courses, as well as devising a couple of brand new ones.  The initial shock was (just about) mitigated by the genuine pleasure of sitting down and figuring how to try to formulate courses which would be appealing to students, would develop their skills and knowledge, and which would hopefully act as a good introduction to a world which I find endlessly fascinating, exciting, and even downright fun!  But writing a course is hard work, and out of all the things that academics have to do – teaching, research, writing, publishing, attracting funding, organising and presenting at conferences – it is probably the activity for which we receive the least guidance and support.  It is also the foundation on which pretty much all other aspects of teaching depend: if your curriculum is over- or under-ambitious, incoherent, or just plain dull, then you are sowing all sorts of nasty seeds which you will have no choice but to reap in the fullness of time.  I wouldn’t dream of saying that I have a solution to this issue, yet alone a blueprint of ‘best practice’.  Instead, I just want to talk around some of the challenges I think that we probably all experience at one time or another, and I invite your thoughts on these areas and more!

Needs must…

cuck

Some modules sit in our teaching portfolio like cuckoos in the nest – definitely the product of another gene pool!

First of all, it is worth noting that we don’t all get to teach the courses we would like to teach.  A permanent post tends to bring with it the opportunity to devise your own courses around your personal interests, but that is not often the case earlier in your career, although thankfully there are some exceptions to that. Still, there are at least two approaches to taking over an existing course.  The first is to ask for copies of the module handbook (maybe even the lecture notes) and simply deliver the course as written.  The other, more time-consuming but perhaps more rewarding option, is to ask whether there is leeway for you to tweak the course, within the existing module specifications and learning outcomes.  You can’t spring a course on Elizabethan popular culture on a group of unsuspecting students who have signed up for a module on Henrician court politics, for example, but by tweaking discussion questions, reading lists, primary source exercises and topic headings you can come up with something which is a much better reflection of your interests: you’ll enjoy it more, and the students will probably enjoy it more as a result.

Horses for courses

Secondly, once you’ve been given a license to create your own course, it’s really important to sit back and give some broad thought as to where it fits in with the broader programme

How does your piece fit into the rest of the puzzle?

How does your piece fit into the rest of the puzzle?

structure of (let’s say, for the sake of argument) your students’ undergraduate history degree.  History isn’t the same as mathematics or some of the other sciences, where before you tackle a subject like fluid dynamics you probably need to be pretty damn good at the basics of adding up, algebra, basic mechanics, that sort of thing. (OK, this is maths, I don’t really know what I’m talking about, which kind of proves my point.) The seventeenth century isn’t ‘harder’ than the sixteenth century; and knowing everything that happened before a given date isn’t an absolute prerequisite for studying what happened after it, although admittedly some context is always key.  But if your students have no experience of early modern history at all, is it wise to go straight in with something very learned and abstruse, which might just scare them off?  Most institutions I have experience of offer broad surveys in the early years of a degree, to introduce some of the key religious, social, political, economic and cultural ideas of the period, but often only in the most general way.  Also, what is the size and shape of the course you have to design?  Is it ‘short and fat’ or ‘long and thin’?  Is it lecture heavy with the odd seminar, a balance of the two, or mainly seminar based?  Is it an individual or a group research project?  Is it assessed by exams, essays, presentations, or in some other way?  Often these sorts of decisions are out of our hands – the structure and assessment methods for your module may need to tally with those of other modules of the same basic type, for reasons of equity and administrative convenience.  But how often do we really take the time to shape our courses to the structures through which we are expected to deliver them, however back-to-front this approach may seem, or indeed actually be?  If we are offering courses at different levels of a programme, do we think about the relationships between them?  And what happens if the second year module you designed to feed in to your third year class is dropped, or moved to a different place in the programme?  Can you really recycle it, or do you need to rethink completely its role in the degree?

Less is more

Less...

Less…

My final thinking point is at the level of the individual

...or more?

…or more?

module.  To use a seasonal analogy, is an undergraduate option like one of those tastefully decorated, expensive department-store Christmas trees, or does it look better festooned with gaudy glitz and glamour?  In other words, is less more, or is more more?  Again this depends on the size and shape of your course, and the point at which it comes in the degree programme.  But as a general principle, I’m starting to realise that however I like to decorate my Christmas tree, less is probably more in this instance.  Another terrible seasonal metaphor: if you’re trying to get somebody to like Christmas pudding, given them a little to try, and give them some more if they ask for it; don’t demand that they eat a whole one, make them sick in the process, and put them off for life.  If your teaching is predominantly seminar based, heavy on activity, interaction and enquiry, I think it is especially important not to try to cram too much in, but to allow time for students to really get to grips with the material.  After all, surely learning in a classroom environment is at least as much about the quality of the interaction as it is about the quantity of ‘stuff’ you get through: it is about developing intellectual and analytical skills, not just imparting ‘knowledge’ or ‘facts’ (whatever they are).  Knowledge is of course a pre-requisite for understanding, which is where reading, preparation and introductory lectures come in, but it is no substitute for it.

How much is too much?!

How much is too much?!

This post has turned out to be quite a general reflection on teaching, perhaps valid for most arts subjects, not just early modern history.  I’m going to follow up with something a little more subject specific in a few weeks: about how we engage students with early modern history subjects in the classes we teach.  But I suppose what I’m saying is that if the initial conditions aren’t right, then that noble aim becomes much harder to achieve.  I’d be really interested to hear about how other people have gone about designing or adapting courses, in order to stand the best chance of turning students into proper little ‘monsters…