Relevant bibliographies by topics / Amateur historian

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Amateur historian'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Amateur historian"

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Kokowski, Michał. "Odpowiedź na list Dr. Pawła E. Tomaszewskiego na temat badań życiorysu Jana Czochralskiego." Studia Historiae Scientiarum 15 (November 24, 2016): 405–8. http://dx.doi.org/10.4467/23921749shs.16.019.6162.

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The author replies to the letter of Dr. Paweł E. Tomaszewski, which is a subsequent (third) stage of the controversy regarding the facts of life of Jan Czochralski and the differences in the way they are presented by an amateur researcher and a professional historian. The source of the controversy is the biography Powrót. Rzecz o Janie Czochralskim (2012), the English edition: Jan Czochralski restored (2013). In the opinion of the author, a professional historian of science may have some reservations regarding the sometimes too popular a style of the publications of Dr. Tomaszewski. Nevertheless, there is no doubt that so far this amateur [i.e. enthusiast] of historical research has done much more regarding the biography and achievements of Jan Czochralski than professional historians and historians of science. This reply concludes the exchange of polemics.
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Cochrane, Claire. "The Pervasiveness of the Commonplace: The Historian and Amateur Theatre." Theatre Research International 26, no. 3 (2001): 233–42. http://dx.doi.org/10.1017/s0307883301000323.

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Amateur theatre constitutes a largely unexplored narrative within the dominant histories of British theatre that traditionally foreground professional practice. A consequence of advanced capitalism has been an increasing emphasis on professionalism in all sectors of society that constructs the amateur as incompetent and expects guaranteed rewards for professional expertise. Statistically, however, amateur theatre has represented a major experience of performance for a significant proportion of the population especially those of the small nations that have been subsumed within the British nation-state. Much of today's state-funded theatre that ostracizes the amateur, has its roots in early twentieth-century amateur/professional collaborations and grassroots activity in the inter-war years. An examination of the ideological basis of aesthetic value judgements which are, in fact, socially constructed judgements of taste, raises issues about both the cultural value of performance and the responsibility of the historian to the experience of the past.
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Watson, Don. "‘Plays with Subjects that Matter’: Political Theatre and the Amateur Movement in the 1930s." New Theatre Quarterly 36, no. 1 (2020): 42–55. http://dx.doi.org/10.1017/s0266464x20000093.

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Thousands of amateur theatre groups performed regularly in Britain during the 1930s but their activities have generally been overlooked by historians. Important features of the amateur world were the regional and national festivals organized by the British Drama League and the Scottish Community Drama Association. In this article Don Watson examines how the festivals could provide opportunities for progressive drama by groups outside the organized Left, and considers the League in relation to the Left theatre movement of the time. It broadens our understanding of where politically engaged theatre took place in the 1930s and thus the appreciation of British amateur theatre as a whole. Don Watson is an independent historian and holds a PhD from Hull University. His theatre research has been published in Labour History Review, Media, Culture and Society, and North East Labour History.
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Yoder, John H. "Response of an Amateur Historian and a Religious Citizen." Journal of Law and Religion 7, no. 2 (1989): 415. http://dx.doi.org/10.2307/1051127.

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Fitri, Rahmi Nur. "Hamka Sebagai Sejarawan: Kajian Metodologi Sejarah terhadap Karya Hamka." Jurnal Fuaduna : Jurnal Kajian Keagamaan dan Kemasyarakatan 4, no. 1 (2020): 42. http://dx.doi.org/10.30983/fuaduna.v4i1.2854.

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<em>Hamka was a contemporary Indonesian Islamic figure who was involved in many fields. He wrote hundreds of books on various topics of study, philosophy, interpretation, history, customs and culture, literature, and others. When mentioning the name Hamka, then he was an ulama, while his roles in other fields are a little blurred. One of them is a depiction of the figure of Hamka as a historian. Some researchers recognize and acknowledge it as part of a historical researcher, some even study his historical philosophy, while for others give the view that he is not a historian. There are several characteristics and types of historians themselves, including professional historians, historians of other fields, and amateur historians or so-called community historians. The purpose of this paper is to uncover the methods employed by Hamka in writing his historical-themed works by looking at the intellectual socio-historical life. Through this study, it can be concluded that Hamka is included in the class of community historians because there is no formal academic history in his study. However, the various steps he went through in the writing process and his teaching experience are proof that Hamka is a historian.</em><strong><em> </em></strong>
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Scherer, Joanna. "The Camera as Historian: Amateur Photographers and Historical Imagination, 1885-1918 (Edwards)." Museum Anthropology Review 9, no. 1-2 (2015): 186–87. http://dx.doi.org/10.14434/mar.v9i1-2.19183.

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Bone, David A. "Edmond Martin Venables (1901–1990), amateur geologist and natural historian." Proceedings of the Geologists' Association 114, no. 2 (2003): 139–50. http://dx.doi.org/10.1016/s0016-7878(03)80004-4.

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Mifflin, Jeffrey. "The camera as historian: amateur photographers and historical imagination, 1885–1918." Early Popular Visual Culture 11, no. 1 (2013): 91–94. http://dx.doi.org/10.1080/17460654.2012.757909.

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Sassoon, Joanna. "The Camera as Historian: Amateur Photographers and Historical Imagination, 1885–1918." History of Photography 37, no. 3 (2013): 371–73. http://dx.doi.org/10.1080/03087298.2013.778033.

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Behdad, Ali. "The Camera as Historian: Amateur Photographers and Historical Imagination, 1885-1918." Nineteenth-Century Contexts 38, no. 1 (2015): 69–71. http://dx.doi.org/10.1080/08905495.2015.1106392.

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Dissertations / Theses on the topic "Amateur historian"

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Nogales, Cárdenas Pedro. "Cinema Amateur i Història local de Reus." Doctoral thesis, Universitat Rovira i Virgili, 2005. http://hdl.handle.net/10803/8609.

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Objectiu: L'estudi del cinema no professional per veure la seva utilitat com a document primari en història. Partint d'aquest punt es deriven diferents qüestions:
- El cinema serveix per fer alguna cosa més que una simple història artística?
- Quin tipus d'història podem fer amb el cinema?
- Quina informació podem extreure d'un film?
- Com podem obtenir aquesta informació?
- Quina utilitat o funció especifica pot tenir el cinema a la història?, si és que la té?
- Es pot utilitzar el cinema a la història local?
- Quin tipus de cinema podem utilitzar per investigacions d'història local?
- Quina informació podem obtenir dels diferents tipus de cinema (professional, amateur, familiar, semi-professional)?
- Podem tractar per igual i obtenir la mateixa informació, dins la investigació històrica local, del cinema professional que del no professional?
- Tant el cinema professional com el no professional es poden analitzar igual?
- La utilització d'aquests tipus de cinema com a documents històrics és igual en tots els nivells territorials: local, regional o nacional?
Contingut: Per arribar a les conclusions finals i donar resposta a totes aquestes preguntes he recorregut el següent camí en aquest treball:
1r. Començava per justificar el tema i explicar els plantejaments bàsics de la investigació.
2n. Explicava les limitacions i els problemes que plantejava la investigació i les solucions donades a aquests problemes.
3r. Definia els diferents tipus de cinema que es podien utilitzar en història local (professional, semi-professional, amateur i familiar) i els passos dels films (35 mm, 16 mm, 9,5 mm, 8 mm i Súper 8 mm)
4t. Vaig cercar la metodologia d'anàlisi més adequada per aquesta investigació. Per això vaig plantejar una sèrie de qüestions bàsiques sobre la utilització del cinema en història i els plantejaments teòrics sobre la realitat i la ficció al cinema. Després d'aquest primer pas vaig estudiar les diferents teories i metodologies d'anàlisi cinematogràfica (teories ontològiques, teories culturalistes, del feminisme vers el cinema, d'antropologia visual, teories ideològiques, teories sociològiques i teories d'anàlisi històric-contextual).
L'estudi d'aquestes teories em va permetre constatar les dificultats d'aplicació d'aquestes a determinats tipus de cinema no professional i vaig optar per proposar una metodologia d'anàlisi que, amb les influències fonamentals de la crítica textual dels textos escrits i contextual del cinema, em permetés analitzar tot tipus de films i una gran quantitat.
5è. Per aplicar aquesta metodologia al cas de Reus, abans vaig haver de fer una història del cinema no professional de Reus, davant la seva inexistència. Una història que va de 1897 a 1989.
6è. La investigació va treure a la llum l'existència de 690 films no professional o amb imatges de Reus, de les que vaig veure 437. Sobre aquestes vaig aplicar la metodologia i vaig fer l'anàlisi dels temes.
Davant l'extensió d'una anàlisi pormenoritzada dels 7 temes proposats que es podien estudiar amb aquest material fílmic, vaig optar per estudiar dos casos: els esdeveniments històrics de Reus recollits pels films professionals i no professionals i la visió geogràfica que donen aquests materials sobre la ciutat i el seu entorn (pròxim o llunyà).
Una de les conclusions bàsiques és la importància d'aquests materials per l'estudi de determinats temes, amb certs condicionats i amb una premissa bàsica: la seva urgent recuperació abans de la seva desaparició definitiva.
Objective: The study of the nonprofessional cinema to see its utility like primary document in history. From this departure point different questions were derived:
- The cinema serves to do something more than a simple artistic history?
- What type of history we can do with the cinema: social, economic, of the daily, political life, etc.?
- What information we can extract of a film?
- How we can obtain that data?
- What utility or specific function can have the cinema in history? If it is that it has it?
- Can be used the cinema in local history?
- What type of cinema we can use for investigations of local history?
- What information we can obtain from the different types from cinema (professional, amateur, professional relative)?
- We can treat the same and obtain the same data, in the local historical investigation, to the professional cinema that the nonprofessional one?
- As much nonprofessional the professional cinema as can be analyzed equal?
- The use of these types of cinema as historical document is equal at all the territorial levels: the premises, regional or national?
Content: In order to arrive, in the final conclusions, to give answer all to these questions the following way has been crossed in this work:
1º) Began to justify the subject and to explain the basic expositions of the investigation.
2º) The limitations and the problems were explained that raised the investigation and the solutions given to these problems.
3º) The different types from cinema were defined that could be used in local history (professional, semi-professional, amateurs and relatives) and the passages of films (35 mm, 16 mm, 9.5 mm, 8 mm and Super 8 mm), in where their characteristics and conditioners were explained.
4º) I look for the methodology of suitable analysis more for this investigation. For it a series of basic questions considered on the theoretical use of the cinema in history and expositions on the reality and the fiction in the cinema. After this first step study the different theories and methodologies from cinematographic analysis (ontológicas theories, culturalistas theories.feminism and cinema, visual anthropology, ideological theories, sociological theories and theories of contextual historical analysis).
The study of these theories allowed to state the difficulties of application of these to certain types of nonprofessional cinema and I choose myself to propose an analysis methodology that, based fundamentally on the analysis of the documentary and contextual textual critic of films, allowed to analyze all type of films and a numerically ample amount.
5º) To apply this methodology to the case of Reus, before had to make a history of the nonprofessional cinema of Reus, before its nonexistence. A history that included from 1897 to 1989.
6º) The investigation brought to light the existence from 690 nonprofessional films or images on Reus, of which 437 were visionaron. On them the methodology was applied and the analysis of the subjects was made.
Before the extension of a detailed analysis of the 7 proposed subjects that they were possible to be studied with this filmic material, it was chosen to study two cases: the historical events of Reus gathered by professional and nonprofessional films and the geographic vision that these cinematographic materials offer of the city and the surroundings (next or distant).
One of the basic conclusions is the importance of these materials for the study of certain subjects, with certain conditioners and a basic premise: its urgent recovery before its definitive disappearance.
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Baeza, Vallejo Arturo José Mauricio, and Maureira Hernán Felipe Funes. "Estudio de caso: fútbol amateur y comunidad. La historia y el impacto social del club Nueva Esperanza de Puente Alto." Tesis, Universidad de Chile, 2017. http://repositorio.uchile.cl/handle/2250/150548.

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Jane, Philip. "An Historical Survey of the Establishment of an Orchestral Tradition in Christchurch to 1939." Thesis, University of Canterbury. School of Music, 2009. http://hdl.handle.net/10092/3407.

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This dissertation is the first study devoted solely to the history of an orchestral tradition in Christchurch. Within a timeframe stretching from the beginning of the local settlement to the establishment of the first “national” orchestra in 1939, it provides detailed portrayals of all facets of amateur and professional orchestral activity. This includes the histories of all orchestral bodies, their membership, a chronology of concerts, repertoire, programme structure and critical reception. This dissertation explains the advance of orchestral tradition that is at times tentative and at times bold, until it is securely entrenched as a mainstream musical activity in Christchurch. A preliminary narration, which begins in 1857, ends in 1906 with the International Exhibition. This is then discussed as a landmark event for orchestral music in Christchurch. A series of case studies for the period of 1908 to 1939, covers each of the five major orchestral groups that flourished in this period. The case studies also include the footprints of development, the “incidental” music performed by the cinema orchestras, and the “studio only” performances of many broadcasting groups. The role played by minor orchestral groups as an “alternative” music culture is included, along with the impact of orchestras associated with visiting opera companies. The final section is a detailed analysis of the repertoire and programme construction, and a discussion of the people who played an influential role in the development of an orchestral tradition. Numerous tables and illustrations are provided. A number of appendices are also attached: a chronology of orchestral concerts in Christchurch; some significant orchestra personnel lists; an extensive set of source readings discussing the formation of a permanent orchestra; a chronology of orchestral activity for a selection of Christchurch musicians; a timeline of visiting opera companies, and a selection of concert programmes.
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Comans, Christine Anne Wilmington. "La Boite Theatre 1925 to 2003: an historical survey of its transformation from an amateur repertory society to an established professional company." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16306/.

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This study addresses the central question of how Brisbane's La Boite Theatre negotiated its transformation from an amateur repertory society to an established professional company and, despite set-backs and crises, survived, changed and developed in an unbroken line of theatrical activity from its genesis in1925 to 2003. To answer the question, La Boite's history is surveyed within its three status modes of amateur, 'pro-am', and professional. Effective artistic and organizational leadership and a set of key manifestations of effective leadership are identified as crucial to the company's successful transformational journey. Such a transformation is a distinctive achievement in Australian repertory theatre history and, in exploring it, this study makes an original and important contribution to the history of Australian theatre organizations, very few of which have been the subject of scholarly research.
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Krohn, Johannes. "Karl-Anders Wollters filmsamling på filmarkivet i Grängesberg." Thesis, Uppsala University, Department of ALM, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-126264.

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The aim with this archive guide is to give a guide to Karl-Anders Wollter’s film collection at Grängesberg Film archive. Karl-Anders Wollter worked between 1962–1993 for the State Department and mainly outside Sweden. The film collection consists of 67 films regarding his work, holidays and family life. In his work as a diplomat Wollter visited a lot of different places around the world, but he also travelled and made some trips with hisfamily. The collection also consists of footage from state visits, installations, negotiations in conflicts and inter-national conferences with politicians. Altogether the film collection gives not only a good view of how the life as a diplomat might be, but also of the development of the society and footage over villages and minor villages both in Sweden and other countries. This archive guide could thus serve as a guide both to those who are interested in the life as a diplomat, politic – and civic life and for those who are interested in cities and minor village’s devel-opment over time. This archive guide can also serve as a guide for those who are looking for film footage for various documentaries.

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Vilela, Mauriney Eduardo. "Teatro amador paulista (1963-1975): organização federativa, fazer teatral e resistência à ditadura." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21134.

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The history of the State of São Paulo’s amateur theater federative movement is described and analyzed in the period between 1963 and 1975. We will describe the action of the State Board of Theatre (CET), and go together with the creation and development of amateur theater federations and the Confederation of Amateur Theatre in the State of São Paulo (COTAESP), in addition to the meetings, congresses, and festivals of Amateur Theatre. In the analysis way, we seek to understand what made people (and groups) with such different proposals become organized, building associations, organizing conferences, doing festivals, and searching political and physical spaces, for a period of a dozen years. The analysis also seeks to define who did amateur theatre during this period, their motivations and goals, their themes, and languages. According to what was analyzed, the amateur performances seem to be immersing in the feelings of your public and contributed to advancements and changes in social relationships, even facing powerful opposition of a military dictatorship
A história do movimento federativo paulista de Teatro Amador é descrita e analisada, no período entre 1963 e 1975. No âmbito descritivo, a partir da ação da Comissão Estadual de Teatro (CET), acompanha-se a criação e desenvolvimento das federações de Teatro Amador e da Confederação de Teatro Amador do Estado de São Paulo (COTAESP), além das assembleias, congressos e festivais de Teatro Amador. No terreno da análise, busca-se compreender o que fez pessoas (e grupos) com propostas tão diferentes agirem em conjunto, construindo federações, organizando congressos, fazendo festivais e conquistando espaços físicos e políticos, por um espaço de tempo de uma dúzia de anos. A análise também busca definir quem fez teatro amador nesse período, suas motivações e objetivos, seus temas e linguagens. De acordo com o que foi analisado, as encenações amadoras parecem ter imergindo na estrutura de sentimentos de seu público e contribuído para avanços e transformações nas relações sociais, mesmo enfrentando poderosa oposição de uma ditadura militar
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Amorim, Marta Regina da Silva. "Abram-se as cortinas, o primeiro ato vai começar: o Grupo Teatral Amadores Cratenses, 1942-1950." Universidade Federal de Alagoas, 2016. http://www.repositorio.ufal.br/handle/riufal/1322.

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This work aims to analyze the performance of the Theater Group of Cratenses Amateur (GRUTAC) between the years 1942 and 1950 using the approach of Cultural History. The theatrical practice of this group can tell us a lot about the values of cratense society of this period and about the history of amateur theater that developed in Brazil in the first decades of the twentieth century. For this, we will use as a starting point the memories of members of GRUTAC, which in the early 1990s strove to create their own story through narratives about their own trajectory. In addition to these memories, we also used as sources for this work theatrical texts chosen by the group to be staged, because we observed that the GRUTAC appropriated the national theatrical production to show the morality and customs present in the society in which they were inserted. By analyzing the content of these plays we can know more about the history of Brazilian theater and dramaturgy. In the quest to understand social values of the cratenses during the study period, we will make the analysis of newspaper articles that talked about the group's performances and about the accepted and not accepted social behaviors within this society.
Fundação de Amparo a Pesquisa do Estado de Alagoas
Este trabalho tem o objetivo de analisar, através do enfoque da História Cultural, a atuação do Grupo Teatral de Amadores Cratenses (GRUTAC) entre os anos de 1942 e 1950, pois a prática teatral deste grupo pode nos dizer muito sobre os valores da sociedade cratense deste período e da história do teatro amador que se desenvolveu no Brasil das primeiras décadas do século XX. Para isso, utilizaremos como ponto de partida as memórias dos membros do GRUTAC, que no início da década de 1990 se empenharam em criar a sua própria história através de narrativas sobre sua trajetória. Além dessas memórias, também utilizamos como fontes de pesquisa para este trabalho textos teatrais escolhidos pelo grupo para serem encenados, pois observamos que o GRUTAC se apropriou da produção teatral nacional para apresentar a moralidade e os costumes presentes na sociedade em que estava inserido. Através da análise do conteúdo dessas peças, podemos conhecer mais sobre a história do teatro brasileiro e a dramaturgia nacional. Na busca de compreender os valores sociais cratenses do período estudado, faremos a análise dos textos jornalísticos que falam sobre a atuação do grupo e os comportamentos sociais aceitos e criticados dentro dessa sociedade.
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Lopes, Hober Alves. "A formação do campo filosófico e histórico no final do século XIX e a historiografia filosófica: Mind Review (1883-1922)." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/7486.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work aims to investigate as the structure of the philosophical field English of late nineteenth century from the Mind Review – the first magazine of philosophy and psychology – in order to compose a picture of the history of philosophy through analysis yours articles as to establishing that we call philosophical historiography. For this, we work with two different temporality: the first corresponds to the formation of philosophical field being analyzed qualitatively your articles between the years 1876-1922; the second concerns to the establishment of a philosophical historiography structured between the years 1883-1922 – it will be counterposed with ―amateus‖ historiography and professional historiography. It is in the later quater of the nineteenth century we observe the emergence of various fields of knowledge, such as philosophy and history. It is the imediation between these two fields that this research is being processed. The aim is to precisely verify what was the contribution of English philosophy in discussions about topics of methodology and epistemology of history, and so, see how it was processed such discussions in both areas.
O presente trabalho tem por objetivo investigar tanto a estruturação do campo filosófico inglês do final do século XIX a partir da Mind Review – a primeira revista de filosofia e psicologia – com o intuito de compor um quadro da história da filosofia através da análise de seus artigos quanto estabelecer aquilo que denominamos de historiografia filosófica. Para isso, trabalhamos com duas temporalidades distintas: a primeira corresponde à formação do campo filisófico sendo analisado qualitativamente os seus artigos entre os anos de 1876-1922; a segunda, diz respeito ao estabelecimento de uma historiografia filosófica estruturada entre os anos de 1883-1922 – que será contraposta com a historiografia ―amadora‖ e com a historiografia profissional. É no último quartel do século XIX que observamos o surgimento de vários campos de conhecimento, tais como o da filosofia e o da história. É na mediação entre esses dois campos que essa pesquisa está sendo processada. O que se pretende é justamente verificar qual foi a contribuição da filosofia inglesa nas discussões sobre tópicos de metodologia e epistemologia da história, e assim, verificar como foi processado tais discussões em ambos os domínios.
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Váňa, Dušan. "DIY technologie v digitálním sochařství." Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2020. http://www.nusl.cz/ntk/nusl-433180.

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This dissertation thesis is focused on the search for the presence of DIY (Do It Yourself) technologies in the practice of digital sculpting, from the beginnings of this progressive way of creation to the present. The work, through three thematic areas, answers the main research questions: What kind of technology is or has the DIY phenomenon been represented in digital sculpture? How have these technologies influenced and are influencing the development and direction of digital sculpture? Within the first thematic area, the presence of the DIY phenomenon in the beginnings of digital creation of a spatial work of art is mapped until the moment of constituting the concept of Digital Sculpture, as a designation of this new way of creation. The second area deals with specific technologies of digital sculpture, in terms of technical tools and their DIY alternatives. The development of these alternative technologies and their influence on the gradual democratization of digital sculpture tools is investigated. The third area examines the creative methods of DIY, which have been integrated into the practice of digital sculpture.
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Books on the topic "Amateur historian"

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The amateur historian. Minotaur Books, 2010.

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The camera as historian: Amateur photographers and historical imagination, 1885-1918. Duke University Press, 2012.

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Kettler, Sarah Valente. The amateur historian's guide to the heart of England. Capital Books, 2004.

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Por amor a la pelota: Historia del béisbol amateur cubano. Ediciones Universal, 2009.

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Dessì, Giuseppe, and Raffaello Delogu. Lettere 1936-1963. Edited by Monica Graceffa. Firenze University Press, 2012. http://dx.doi.org/10.36253/978-88-6655-162-1.

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Author of Architettura del medioevo in Sardegna which won him the Premio Nazionale Olivetti in 1956, Raffaello Delogu was an art historian and Commissioner for Antiquities and Monuments in Sardinia, Abruzzo and Sicily. His correspondence with one of the most eminent Italian writers of the second half of the twentieth century, as transcribed and lavishly annotated here by Monica Graceffa, reveals him not only as a committed intellectual devoted to the study of ancient and modern art, but also as a caustic and playful friend. His dialogue with Giuseppe Dessí commenced in their youth, when Dessí was an amateur painter on the way to maturity, who instead rapidly developed into a mature writer and attentive connoisseur of all forms of art. In addition to their studies and mutual friends (including Claudio Varese and Maria Lai), they also shared an interest in painting and in what Dessí was experiencing (his moves, his political passion) and what he was writing (fiction, drama, essays); important in this regard are the letters touching on the collaboration of both on the Sardinian issue of Pietro Calamandrei's «Il Ponte».
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Kettler, Sarah Valente. The amateur historian's guide to medieval and Tudor London, 1066-1600. Capital Books, 2001.

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The amateur and the professional: Antiquarians, historians, and archaeologists in Victorian England, 1838-1886. Cambridge University Press, 1986.

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Kettler, Sarah Valente. The amateur historians's guide to medieval and Tudor England: Day trips south of London. Capital Books, 2002.

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Mitchinson, K. W. Amateur soldiers: A history of Oldham's volunteers and territorials, 1859-1938. Jade, 1999.

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Mykita-Glensk, Czesława. Melpomena w śląskiej mazelonce: Szkice z dziejów polskiego życia teatralnego na Śląsku do roku 1939. Wydawn. Uniwersytetu Opolskiego, 2003.

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Book chapters on the topic "Amateur historian"

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Motrescu-Mayes, Annamaria, and Susan Aasman. "Memory and amateur media’s visual counter-histories." In Amateur Media and Participatory Cultures. Routledge, 2019. http://dx.doi.org/10.4324/9781315396149-6.

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Bonifácio, Vitor, and Isabel Malaquias. "Portuguese Amateur Astronomy (1850–1910)." In New Insights From Recent Studies in Historical Astronomy: Following in the Footsteps of F. Richard Stephenson. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07614-0_16.

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Dunlop, S. "Amateur Data and Astronomical Discoveries in the 20th Century." In Information Handling in Astronomy - Historical Vistas. Springer Netherlands, 2003. http://dx.doi.org/10.1007/0-306-48080-8_16.

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Orchiston, Wayne. "The Amateur-Turned-Professional Syndrome: Two Australian Case Studies." In New Insights From Recent Studies in Historical Astronomy: Following in the Footsteps of F. Richard Stephenson. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07614-0_17.

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Lawlor, Michael S. "Stock Equilibrium in Asset Markets and “The Folly of Amateur Speculators”: The Marshallian Setting." In The Economics of Keynes in Historical Context. Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230288775_9.

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Koeckelenbergh, André. "Historical Session: The Contribution of Amateurs to Astronomy, Yesterday and Today." In Stargazers. Springer Berlin Heidelberg, 1988. http://dx.doi.org/10.1007/978-3-642-74020-6_22.

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Couteau, P. "The Historical Contribution of Amateurs to the Study of Double Stars." In Stargazers. Springer Berlin Heidelberg, 1988. http://dx.doi.org/10.1007/978-3-642-74020-6_3.

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Cunningham, Clifford J., and Wayne Orchiston. "The Clash Between William Herschel and the Great German ‘Amateur’ Astronomer Johann Schroeter." In New Insights From Recent Studies in Historical Astronomy: Following in the Footsteps of F. Richard Stephenson. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07614-0_14.

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"2. The Amateur Christian Historian." In The Anointed. Harvard University Press, 2011. http://dx.doi.org/10.4159/harvard.9780674062672.c2.

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Rachleff, Melissa. "“The Fever Dream of the Amateur Historian”." In Letting Go? Routledge, 2020. http://dx.doi.org/10.4324/9780429333743-23.

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Conference papers on the topic "Amateur historian"

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Black, Morgan, and Joshua X. Samuels. "THE HISTORIC COLLECTIONS OF MELVIN S. ASHWILL: PRESERVING THE LEGACY OF AN AWARD-WINNING AMATEUR COLLECTOR AT JOHN DAY FOSSIL BEDS NATIONAL MONUMENT." In GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-285393.

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Gabaldón López, Carmelo. "LAETITIA. Barthes, ensayo audiovisual y gay-storylines." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9595.

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La ficción audiovisual como herramienta fundamental en los mecanismos de producción de subjetividades, es utilizada con frecuencia desde los organismos de poder para configurar identidades, producir verdad y legitimar conductas acordes a sus necesidades. Cómo organizamos y consumimos las imágenes en movimiento y el impacto que tiene la sobresaturación de los discursos sobre los mecanismos de construcción identitarios, son elementos de análisis en la pieza audiovisual Laetítia. Concretamente en la esfera dialéctica queer y a través del estudio del fenómeno conocido como gay storylines, proponemos un proceso que analiza las metodologías del archivo y sus posibles activaciones y en consecuencia la figura del artista contemporáneo como recolector y arqueólogo de imágenes. Las gay storylines son una herramienta característica de nuestra sociedad, ejemplo de la inmediatez consumista y la percepción fragmentada sobre lo que nos rodea. Son textos audiovisuales que surgen como resultado contemporáneo de las derivas amateur de usuarios por Internet, es decir los nuevos flaneurs digitales. Un ejercicio de cirugía visual en el que, a modo de “frankenstein”, se articula un discurso paralelo de historias reconvertidas. Un proceder fragmentario que construyen un todo a partir de porciones evidenciando la necesidad de realizar lecturas que resignifiquen las producciones heterosexuales. Es interesante comprobar cómo es posible, utilizando procedimientos similares y a través de la práctica artística, denunciar los mecanismos que ejercen control sobre los sujetos y proponer en consecuencia modelos que sirvan como catalizadores de una nueva concienciación. Un discurso encaminado a conseguir el compromiso responsable en la construcción de narrativas propias. El proyecto audiovisual Laetitia, se convierte, de alguna manera, en un archivo incompleto que recoge datos visuales de las producciones cinematográficas LGBT planteando un doble recorrido, un análisis sobre las relaciones del sujeto contemporáneo y una revisión de la producción de imágenes en movimiento.
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Marín Ramos, Ruben. "Filmar el desacuerdo. El cine de Iris Zaki." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10313.

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El presente artículo aborda la obra videográfica de la Israelí Iris Zaki, la cual emplea un singular método de trabajo con el que logra establecer espacios dialógicos en comunidades cerradas. Una particular estrategia en la que destaca el abandono temporal del rol de cineasta para entrar a trabajar en diferentes establecimientos y, una vez dentro, el empleo de un dispositivo mínimo - en la que la directora deja la cámara grabando sola (sin nadie que la controle) - mostrando, prácticamente durante toda la película, el mismo plano. Con esto Zaki centra toda la atención en las conversaciones que mantiene con sujetos de diferentes grupos o comunidades de su entorno, ya sean: judíos ortodoxos en Londres, árabes en Haifa, o colonos Israelís en un asentamiento en Cisjordania, interfiriendo lo menos posible en la escena y consiguiendo que intervengan con una mayor sinceridad y espontaneidad frente a la cámara. En los trabajos de Zaki la parte etnográfica y la autobiográfica se diluyen en una, su historia personal está, irremediablemente, sujeta a las comunidades que filma; comparten el mismo territorio, las mismas circunstancias históricas, etc., pero, además, Zaki aparece en todas sus películas. Ella también responde, pregunta, reflexiona… delante de la cámara, por lo que a la vez que conocemos a esos «otros» lo hacemos también con la misma directora. Entre la práctica artista y el activismo, lo amateur y lo experimental, las piezas de Zaki son un buen ejemplo de las nuevas fórmulas que están renovando el panorama del cine de lo real y que por su condición hacedora, pueden ser especialmente interesantes para nuevos creadores que carezcan de los recursos técnicos ligados a la tradición cinematográfica o para aquellos atraídos por el documental de vanguardia.
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Baixauli Romero, Raquel, and Esther González Gea. "Fotógrafos anónimos. Una aproximación a la fotografía encontrada." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6734.

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A finales del siglo XIX, la fotografía se convirtió en el pasatiempo perfecto de las clases altas gracias a los avances técnicos que transformaron el medio. Se calcula que en el Madrid de entresiglos existían no menos de mil fotógrafos amateurs y hasta más de tres mil en Barcelona. A medida que avanzaron los años, el aparato fotográfico pasó a ser un objeto común, hasta tal punto que, pasada la primera mitad del siglo XX, cualquier familia de clase media contaba con una cámara en sus hogares. Este hecho propició la progresiva acumulación de imágenes fotográficas y condicionó el destino de muchas de ellas: el olvido.Entrado el siglo XXI, y ante la imposición de generar cada vez más material dentro del marco de la iconosfera, nos afanamos por rescatar imágenes del pasado condenadas al silencio gracias, entre otros factores, a la reciente preocupación por la memoria, la imposición de la llamada cultura digital y el auge de los estudios visuales, tratando de hacer justicia a aquellos nombres obviados en la resbaladiza Historia de la fotografía. En los últimos años hemos asistido a la puesta en valor del trabajo de fotógrafos desconocidos. El caso más sonado ha sido el de la fotógrafa americana Vivian Maier, aunque en el ámbito nacional también hemos visto resurgir las obras de fotógrafos que han puesto en relieve esta disyuntiva, como Virxilio Vieitez, Luis Ramón Marín, Milagros Caturla o Ximo Berenguer.La denominada fotografía vernácula genera cada vez mayor interés entre los aficionados y teóricos de la fotografía, como Robert Flynn Johnson, conservador jefe de la Fundación Achembach para las Artes Gráficas de San Francisco, dado su carácter utilitario, doméstico y heterotópico, siguiendo a Clément Chéroux. La escasa atención que suscita la autoría de estas imágenes silenciosas, silenciadas, nos obliga a respondernos a una pregunta que aparece repetidamente. ¿Cuál es el factor que verdaderamente determina que una fotografía ingrese en el olimpo de las obras maestras?En esta línea camina la presente comunicación, cuyo objetivo fundamental es cuestionar los paradigmas que rigen la noción misma del valor fotográfico y su propia naturaleza ambivalente; preguntándonos dónde se encuentran los límites entre lo válido y lo excluido, reformularemos la idea de un archivo fotográfico vivo, que se hace extensible a la Historia como disciplina, una disciplina viva que continúa reescribiéndose.
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