Wednesday, 11 November 2015

Digital Public History Narratives with Photographs

This post is a slightly different version of  Digital Public History narratives with Photographs. In: Public History Weekly 3 (2015) 31, DOI: (German and French versions also available in PHW).

Social Media are “a group of Internet-based applications that build on the ideological and technological foundations of Web 2.0, and that allow the creation and exchange of user-generated content.”[1] They facilitate various forms of web communication between individuals and communities. They can bring users together to discuss common issues and to share traces of the past. Local communities’ engagement with the past, mediated or not, are made possible through Web 2.0 practices. New virtual contacts could be built when communities are no longer present in physical spaces.[2]

Everybody’s got talent: user-generated knowledge

If social media allow dispersed communities to reconnect online and share their memories, today, understanding how common people use social media and play with history tells us many things about which pasts are important in our present.[3]
Everybody promotes her/himself. TV “reality shows” such as Got Talent[4] are the most followed TV broadcasts worldwide because they select unknown people and connect them with an audience. These shows reveal unexpressed skills and creative capacities the same way online social media websites crowd-source knowledge and reconnect with the past. Like TV talent shows, social media allow different publics to promote themselves, their family history, and their communities.
Sociologist Pierre Bourdieu defined the systematic repetition of similar family photographs as emblematic of popular behaviour and culture.[5] Sharing different generations’ family pictures in social media shapes collective memories.[6] On the other hand, such popular demand for genealogy[7] only scratches the surface of major events in history and is often disconnected from “big history” and broader contexts. But photography, in social media, describes popular behaviours – “selfies” today – [8] and, thanks to linked data technologies, Google Maps, and Street View, adds spatial dimensions and time boundaries to individual memories.

Pinning your images with Historypin, a digital time machine

“Historypin is a digital time machine that creates a new way for the world to see and share history.”[9] Linked data and the Semantic Web connect digital contents, combining primary sources with geography.[10] Old pictures can be “pinned” in the present: family pasts may be re-enacted today. Heritage institutions, but also common people, organize forms of storytelling because the technology is easy. Public historians takeHistorypin seriously to engage with specific communities.[11] Using Historypin, the American National Archives is now everywhere outside the building in the virtual space[12] and solicits everybody’s contribution to historical archives, inviting the wider public to “pin your history to the world.”[13] In Florence, during a public exhibition (2014) commemorating the 70th anniversary of the end of the German occupation,[14] citizens brought their documents on site, using the MemorySharing project. Old 1944 documents were scanned and included in today’s maps of Florence. New Zealand soldiers are now re-enacted directly on Google Street View.[15] You can fade the vintage picture[16] to see the contemporary layer of the street.
Could academic historians use the potential of digital public history, with Historypin, a tool that makes it easy to re-enact even difficult pasts? Alon Confino tried to reconstruct the pre-1948 invisible Palestinian past of Tantura, Dor in today’s Israel. Confino studied cadastral maps, aerial photography, and images of Palestinians recorded prior to May 22–23, 1948. But user-generated content from social media would add original Palestinian diaspora documents: re-enacting 1948 Palestinian memories should be possible.[17]

Visual narrative public history

Inspired by a photograph, Michael Hughes’ Flickr project “Souvenirs”,[18] Looking into the Past merges past and present in a unique image.[19] “Ghosting family pasts”, thanks to digital technologies, is very popular for resuscitating memories. Merging old pictures and recent images shortens the digital timeline and activates different regimes of historicity in the present.[20]
Emblematic of many others projects around the world, the Past Present Project in Tumblr[21] publishes family pictures where past and present overlap.[22] Images showing the pastness of places shape a nostalgic present, such as the merged urban temporalities of the Hungarian artist Zoltán Kerényi,[23] or Hebe Robinson’s Northern Norway Echoes, a project placing old family photos from a Lofoten fishing village, abandoned after WW2, in today’s landscape.[24] Sometimes called rephotography,[25] these new images contain different time layers in one unique image. Even WW1 images are “ghosted” in a past-present continuum.[26] The same is done with WW2 images by the Russian photographer Sergey Larenkov in Link to the Past.[27] The author of a website about Krakow “looks for very old photos of the city and takes new ones from the very same spot, so my readers can compare and see what has changed”.[28] Keith Jones, inLiverpool then and now,[29] lets us discover “blended shots”: old black and white images merged with colour images.[30]

Past-present relationships in photographs

The Italian photographer, Isabella Balena, took pictures of the Gothic Line ruins that stopped the allied offensive in 1944 in central Italy sixty years after the event. Ci resta il nome, a photographic journey through the memory of WW2 in Italy is a good example of visual narrative public history.[31] What is important in Balena’s systematic reproduction of monuments and traces of the violent past is to show how the place where Mussolini was shot in April 1945 tells about both presentism and oblivion and is open to the present and new futures.
But photography may also show that the present has lost its connection with the past. Total disconnection with history is what Serge Gruzinski demonstrates with the cover picture of his book, L’Histoire pour quoi faire?:[32] young, post-colonial Algerians playing soccer. Their goalkeeper stands in front of an ancient Roman arch, a symbol of lost memories. The arch does not mean anything to them. Instead, in the context of today’s Isis campaigns, the Islamic State extremists destroy past heritages, so that history could be rewritten and memory cancelled forever.[33]
  • François Hartog: Régimes d’historicité: présentisme et expériences du temps., Paris: Seuil, 2003 (Regimes of historicity: presentism and experiences of time, translated by Saskia Brown, New York: Columbia University Press, 2015.
  • Serge Gruzinski: L’Histoire pour quoi faire?, Paris: Fayard, 2012.
  • Serge Noiret: “Nulla sarà più come prima: considerazioni sul Digital Turn e le fonti fotografiche dal punto di vista della storiografia.” in Gian Piero Brunetta and Carlo Alberto Zotti Minici (eds.): La fotografia come fonte di storia, atti del convegno (Venezia, 4-6 ottobre 2012), Venezia, Istituto Veneto di Scienze, Lettere ed Arti, 2014, pp.248-268.
External links
[1] Andreas M. Kaplan, and Michael Haenlein, “Users of the world, unite! The challenges and opportunities of social media”, in Business Horizons, 53/1, 2010 pp. 59-68.
[2] Dario Miccoli studies how the Jewish diaspora from the Maghreb is today “reconnected” through the web and social media. See “Digital museums: narrating and preserving the history of Egyptian Jews on the Internet”, in E. Trevisan Semi, D. Miccoli and T. Parfitt (eds.), Memory and Ethnicity. Ethnic Museums in Israel and the Diaspora, Newcastle: Cambridge Scholars, 2013, pp.195-222; “Les Juifs du Maroc, Internet et la construction d’une diaspora numérique”, in Expressions Maghrébines, 13/1, 2014, pp.75-94.
[3] André Gunthert: “Shared Images”, in Études photographiques, 24, novembre 2009, (Last accessed 5.10.2015); “L’image conversationnelle”, in Études photographiques, 31, 2014, (Last accessed 5.10.2015).
[4] A list of countries offering, after the USA in 2006 and GB in 2007, an emulation of Got Talent is available in Wikipedia,; America’s Got Talent (2006),; La France a un incroyable talent (2006),; Britain’s got talent; general information in Wikipedia, (All last accessed 5.10.2015).
[5] Pierre Bourdieu, Luc Boltanski, Roger Castel and Philippe de Vendeuvre: Photography, a Middle-Brow Art, Stanford: Stanford University Press, 1990.
[6] Richard Chalfen, “La photo de famille et ses usages communicationnels”, Études photographiques, n. 32, 2015, (Last accessed 5.10.2015).
[7] Jerome De Groote: “International Federation for Public History Plenary Address: On Genealogy”, in The Public Historian, Vol. 37, No. 3, August 2015, pp. 102-127, DOI: 10.1525/tph.2015.37.3.102 (Last accessed 5.10.2015).
[8] André Gunthert: “The consecration of the selfie”, in Études photographiques, 32, 2015, (Last accessed 5.10.2015)
[9] Historypin in Wikipedia, (Last accessed 5.10.2015); see also Hunter Skipworth: Historypin turns Google Street View into a window on the past, June 21, 2010, The Telegraph, (Last accessed 5.10.2015); Beat Brüsch: “L’histoire en noir et blanc”, in: Mots d’Image,
[10] “A global community collaborating around history […]”, (Last accessed 5.10.2015). Historypin was created by the non-profit company Shift with support from Google and launched at the Museum of the City of New York in July 2011. “Enabling networks of people to share and explore local history, make new connections and reduce social isolation” was the goal of the company. See Historypin, (Last accessed 5.10.2015).
[11] Meg Foster: “Online and Plugged In? Public History and Historians in the Digital Age”, in Public History Review, Vol.21, 2014, pp. 1-19, (Last accessed 5.10.2015)
[12] Kris Jarosik: “Primary Sources With Some Help from Historypin”, in The National Archives Education Updates, (Last accessed 5.10.2015).
[13] NARA, (Last accessed 5.10.2015).
[14] (Last accessed 5.10.2015); Filippo Macelloni and Lorenzo Garzella: MemorySharing a Firenze, (Last accessed 5.10.2015). Francesco Cavarocchi and Valeria Galimi: Firenze in Guerra, 1940-1944, Florence: Firenze University Press, 2014, pp. XXIV-XXV.
[15] The historic centre of Florence on a Google map is now available with new, embedded documents from 1944. This is the direct link with geographical coordinates:!/geo:43.789874,11.271481/zoom:13/date_from:1944-01-01/date_to:1944-12-31/ (Last accessed 5.20.2015).
[16] Kaye, George Frederick, 1914-2004. Looking towards the Porta Romana in southern Florence, Italy, in World War II, (Last accessed 5.10.2015)
[17] Alon Confino : “Miracles and Snow in Palestine and Israel: Tantura, a History of 1948.”, in Israel Studies, vol. 17, n. 2, 2012, pp. 25-61, (photos are published on pages 44-55).
[18] (Last accessed 5.10.2015).
[19] Ghosting the Past is the title of a picture showing two generations of the same family pausing on Capitol Hill. Like their grandparents, the next generation visited the same “realm of American memory”. (Looking into the Past (Last accessed 5.10.2015)).
[20] François Hartog: Regimes of historicity: presentism and experiences of time (translated by Saskia Brown), New York: Columbia University Press, 2015.
[21] Christian Carollo’s Past Present Project in Tumblr,; The Past Present Project in Instagram,; The Past Present Project in Facebook (All last accessed 5.10.2015).
[22] “I wondered,” said the photographer Christian Carollo, “what if I could replicate my grandfather’s photograph 30 years later?” (Last accessed 5.10.2015).
[23] 25 photos du passé se superposent avec le présent pour vous faire découvrir leurs histoires (Last accessed 5.10.2015)
[24] Hebe Robinson: Echoes, (Last accessed 5.10.2015)
[25] Loïc Haÿ: Quand la rephotographie rencontre le numérique, (Last accessed 5.10.2015)
[26] Pictured: Fascinating World War One photographs mixed with today’s modern landscapes, April 22, 2014, (Last accessed 5.10.2015).
[27]Sergey Larenkov: Связь времен / Link to the Past, URL:
[28] Photos are divided; the old black and white image abuts the new one in full colour. The viewer may cancel parts – or the entirety – of one of the two combined images. (Kuba: Dawno temu w Krakowie, (Last accessed 5.10.2015).
[29] Keith Jones: Liverpool Then and Now, (Last accessed 5.10.2015).
[30] Liverpool Then and Now, (Last accessed 5.10.2015)
[31] Isabella Balena: Ci resta il nome., Milano: Mazzotta, 2004 and!/about (Last accessed 5.10.2015).
[32] Serge Gruzinski: L’Histoire pour quoi faire?, Paris: Fayard, 2012, pp.21-24.
[33] Isis Video Claims Attack On Unesco Iraq World Heritage Site, (Last accessed 5.10.2015).

Sunday, 8 November 2015

Digital Public History sessions at the XXII International Congress of Historical Sciences (ICHS-CISH)

Academic Historians promoted a Historic1st international reflection on the Digital Turn in History during The XXII International Congress of Historical Sciences organized by the International Committee for Historical Sciences – Comité International des Sciences Historique (ICSH-CISH) in the city of Jinan in China, between August 23 and August 29, 2015 in Shandong Hotel.  (You can still Download the Full Programme, look at the Practical Information and visit the Jinan Congress Web Site.)

For the first time in its own history, the ICHS promoted some panels and events around Digital History tahnks to the American Historical Association (AHA) and the Internal Federation for Public History(IFPH-FIHP), a permanent Internal Commission of the CISH. Both associations actively contributed to the main CISH programme in Jinan. The IFPH also organized its 2nd Annual International Conference during the XXII International Congress of Historical Sciences with a session dedicated to Digital Public History.
One of the four Major Themes during this quinquennial meeting of historians from all over the world was about the Digital Turn in History/Le tournant numérique en Histoire. Many defections were registered still in July but, at the end, Robert Frank, professor of History of International Relations at Paris 1 Sorbonne and, at the time of the conference, still secretary general of the International Committee for Historical Sciences, succeeded in maintaining three different digital history events: two panels and an evening session about digital public history.
This was the specific digital history programme

Session 1:  Digital History: Challenges and Possibilities 

9 AM-12:15 PM – Movie Hall, Shandong Hotel –
 With the support of the American Historical Association 
  • Tom Dublin (SUNY Binghamton) and Kathryn Kish Sklar (SUNY Binghamton)
What is PH International, Interview Jinan, August 27, 2015
  • Tom Dublin and Kathryn Kish Sklar (SUNY Binghamton): History of Women:  Challenges of archival database construction
  • Kathryn Sklar: New Digital Media and the New History of Human Rights
  • Patrick Murray-John:  Omeka, a (partly) international platform
  • Serge Noiret: Who owns History and Memory in the web? Challenges and Possibilities of Digital Public History
  • Alla Kovalova:  Digital Historiography and Authors’ Rights: Challenges and Perspectives
  • Yvan Combeau (Université de La Réunion-Océan Indien): The Screen and Digital Archives 

Session 2:  New Tools, New Narratives, New Histories

2 PM-5:15 PM- Movie Hall, Shandong Hotel  
  • Tom Dublin (SUNY Binghamton) and Kathryn Kish Sklar (SUNY Binghamton)
  • Adam Kosto (Columbia University): Digital Developments: Medieval European Diplomatic Sources
  • Silvia Orlandi (Sapienza University of Rome): EAGLE  European network of ancient Greek and Latin epigraphy:  Ancient inscriptions in the digital era
  • Andrea Nanetti (Singapore Nanyang Technical University) and Siew Ann Cheong (Singapore Nanyang Technical University): Web based automatic narratives for interactive global histories: The maritime silk road 1205-1533
  • Guido Abbattista: Digital frontiers for research on Modern History: resources and methodology
  • Jean-François Sirinelli: L’historien, le politique et le numérique : un triangle complexe
The International Federation for Public History (IFPH) contributed also to organise seminars and sessions with the ICHS  about Digital (Public) History and the Digital Turn in History described below.
Major Theme 4 – Digital Turn in History
Thème majeur 4 – Le tournant numérique en Histoire
Evening Session –  7:45 PM-9:30 PM/19 h 45-21 h 30  – Movie Hall, Shandong Hotel
Promoting Digital History internationally: Roy Rosenzweig Center for History and New Media projects and the role of THATCamp (The Humanities and Technology Camp) – Promouvoir l’Histoire Numérique internationale: Les projets du Roy Rosenzweig Center for History and New Media et le rôle de THATcamp (The Humanities and Technology Camp)
– Serge Noiret (President of the International Federation for Public History; European University Institute, Florence): Introduction
University of Shandong Students helping at any moment
– Patrick Murray-John (Roy Rosenzweig Center for History and New Media, Department of History and Art History, George Mason University): The Humanities And Technology Camp: How an informal conference structure spreads knowledge and interest in the Digital Humanities

Round Table 9/Table ronde 9 – Why Public History ?
9 AM-12/9 h-12 h – Zibo Hall, Shandong Hotel
Participants to the Roundtable "Why Public History"
With the support of the International Federation for Public History
 OrganizersAlix Green, (University of Central Lancashire) and Arnita A. Jones, (International Federation for Public History)
  • Anna Adamek, Curator, Canada Science and Technology Museum, Canada
  • Philip L. Cantelon, Chief Executive Officer, History Associates Incorporated, USA
  • Bonny Ibhawoh, Associate Professor of History, McMaster University, Canada
  • Serge Noiret, History Information Specialist, European University Institute, Italy
 3. Friday August 28 – 2 PM-5:15 PM – Zaozhuang Hall, Shandong HotelInternational Federation for Public History 2nd Annual Conference – #IFPH2015 – Session 3: Digital Public History

2 PM-5:15 PM/14 h-17 h 15 – Zaozhuang Hall, Shandong Hotel
Session 3: Digital Public History
Chair: Serge Noiret (European University Institute, Florence)
Jenny Gregory & Patrick Moore before the session on DPH
  • – Jenny Gregory (University of Western Australia):
    Public History and the Use of Social Media
  • – Patrick Moore (University of West Florida):
    The Many Faces of an Historical APP:  Next Exit History,” the Classroom and Community

Monday, 29 June 2015

Italy’s first Master’s Degree in Public History starts in September 2015

(See Italian version below)

The University of Modena and Reggio Emilia, Department of Language and Cultural Studies, launches Italy's first Master's degree in Public History, beginning with the 2015/2016 academic year. The master is a 2nd level Master's Degree in Public History.

UNIMORE Master in Public History

"History is us, no one is to feel excluded" (Francesco De Gregori).

foto Bertucelli
Prof.Lorenzo Bertucelli, Director of the Master

The news in itself is amazing, congrats and best wishes are in order. So is the urge  to enquire about the reasons for choosing small-town Italy for this somewhat belated arrival on the  international PH scene, and the pretty town of Modena over Rome, Milan or Naples - their imposing resources and academic facilities notwithstanding. "Let's not forget  Modena's past as state capital and the worldwide reputation for excellence it enjoys today : from legendary Ferrari cars to the Philosophy Festival, to name but a few," says Professor of Contemporary History Lorenzo Bertucelli, who with colleague Paolo Bertella Farnetti designed the Master's program. "Glocalization aside,” he continues “Modena built on a tradition of culture and creativity pervading every activity in its territory -right in the center of the Emilia region. Among our partners in the Master's  you will find some of the leading institutions in this process, such as the Historical Institute in Modena and the ISTORECO in Reggio Emilia, the Fondazione Fossoli, and the Istituto Cervi.
Prof. Paolo Bertella Farnetti, Public History Master organizer

We're talking about a permanent legacy created by a territory that experienced the major events in history  –  notably WWII and its most defining  moments, both tragic and heroic. A strong regional identity has developed, based on deep historical roots, and it has been retained through many stages of telling. Hence its particular propensity for public discourse and the reproduction  of history as a shared narrative frame, closely interwoven with the associative fabric and, more generally, with its strong citizen participation in the public sphere and in the political process. In the decades between the end of the war and the 1980s, this has often translated into a 'public use of history' in the classical sense. Taking advantage of established skills and considerable potential, that tradition can now morph into a 21st century  best practice for  Public History. "Thanks to the  rich network of organizations, museums, institutions  and cultural centers  within this common fertile ground,  our Master's program is in a unique position to benefit from a wealth of knowledge, practices and expertise. Not only is this  particularly valuable to the goals of Public History, but also provides our students with an extensive choice of  reputable internships both nationally and internationally." Rich in creative energy and international connections, Modena has been at the forefront in the creation of modern  manufacturing districts and is now ready to revive its "cultural district" as well.
"The goal of  Public History is clear: take history out of a strictly academic setting and make it accessible and useful to a wider audience, employing a broad range of tools as a means to that end," adds Paolo Bertella Farnetti. "It's the right answer to the public's undeniable thirst for History. Often ignored by traditional historians, this demand ends up being addressed mostly by willing amateurs acting more or less in good faith, at the expense of historical truth. Academic history would have much to gain from the development of Public History. Equally relying on the scientific method, PH professionals seek to foster a love of history and its transformation into a shared value, as well as community engagement. It 's time to lend accuracy and visibility to this trend and to make full use of the rich - but often neglected - Italian historical heritage. "
How to apply ?
  • Registration deadline: September 4, 2015
  • Tuition Fee: 2,700 EUR, payable in two equal installments
  • Audit Fee: 600 EUR
  • The Master's Program will admit a minimum of 10 and a maximum of 50 students.
  • Lessons will take place from October 2015 to May 2016. Classes will be held from 9 a.m. to 6 p.m. Fridays, and  from 9 a.m. to 1 p.m. Saturdays .
  • Course Locations: Unimore, Department of Linguistics and Cultural Studies, Modena; The Historical Institute, Sala Ulivi, Modena
    Student Workload: 1500 hours including lectures, workshops, practical classes, independent study, internships and final dissertation
  • Internships will take place between November 2015 and June 2016. The final Dissertation will be submitted for assessment in the months of June and July, 2016.
  • For more information, please contact Professor Lorenzo Bertucelli, Director:  lorenzo.bertucelli [at]
  •  2nd level Master's Degree in Public History website:


Perché un Master in Public History? Nasce in Italia il primo Master in Public History, presso il Dipartimento di Studi linguistici e culturali dell'Università di Modena e Reggio Emilia, (anno accademico 2015-16)UNIMORE Master in Public History

La storia siamo noi…nessuno si senta escluso” (Francesco De Gregori).
L’Università di Modena e Reggio Emilia, in collaborazione con Fondazione ex Campo Fossoli di CarpiIstituto Storico di Modena, Istoreco di Reggio Emilia eIstituto Cervi di Gattatico (RE), ha attivato un Master Universitario di II livello in Public History per l’anno accademico 2015-2016. Il Master introduce per la prima volta nell’Accademia italiana una nuova disciplina, diffusa con successo in numerosi paesi del mondo, soprattutto anglosassoni. E’ una sfida, ma anche una nuova frontiera di conoscenza e di opportunità di lavoro. La Public History è la storia applicata alla società in cui viviamo: consiste nel produrre, conservare e diffondere la storia nel territorio e nel tessuto sociale, con ogni tipo di linguaggio, di strumento e di tecnica, per e con ogni tipo di pubblico.
La notizia di per sé è straordinaria, con tutti gli auguri e scongiuri del caso. E' però forte la tentazione di chiedere subito agli organizzatori perché questa iniziativa, così in ritardo rispetto ad altri paesi, è nata "in provincia", nella graziosa città di Modena, e non a Roma, Milano o Napoli, con le loro imponenti risorse e strutture accademiche.
"Non dimentichiamoci che Modena ha un passato di capitale di Stato e incorpora alcune eccellenze conosciute a livello mondiale, dalla Ferrrari al Festival di filosofia", dice Lorenzo Bertucelli, professore di storia contemporanea che insieme al collega Paolo Bertella Farnetti ha organizzato il master. "Non starei neanche a scomodare la glocalisation - continua - penserei piuttosto alla sedimentazione prodotta dal lavoro di un 'distretto culturale' dell'Emilia centrale che ha avuto fra i protagonisti anche gli enti che collaborano al master (gli Istituti Storici di Modena e Reggio Emilia, la Fondazione Fossoli, l'Istituto Cervi). Parliamo di un'eredità prodotta da un territorio attraversato dalle grandi vicende della storia - in particolare la seconda guerra mondiale che ha visto concentrati qui tutti gli aspetti 'tragici' ed 'eroici' che l'hanno caratterizzata - e che soprattutto si è sempre RACCONTATO in relazione alla propria storia. Di qui una particolare sensibilità verso il discorso pubblico e la narrazione della storia come trama comunitaria costruita e innervata dal tessuto associazionistico e più in generale dalla forte partecipazione dei cittadini nello spazio pubblico (incluso quello politico). Nei decenni tra la fine della guerra e gli anni '80 del secolo scorso ciò si è spesso tradotto anche in un 'uso pubblico della storia', nel senso classico, ma ora quella tradizione può essere declinata nel XXI secolo, sfruttandone le attitudini e le potenzialità, in una buona pratica di Public History. La ricca rete di associazioni, musei, enti, centri culturali che stanno dentro questo humus comunitario, permette al Master di posizionarsi al centro di un network di conoscenze, pratiche e professionalità che appare particolarmente fecondo per gli scopi e la finalità della PH. E naturalmente per gli stage degli studenti che quindi possono usufruire di una articolata e sperimentata gamma di possibilità nazionali e internazionali."
Public History and the Media EUI Conference, February 2015. Workshop participants fabio Luppi & Manfredi Scanagatta from University of Modena and Reggio Emilia Public History Master enjoys a coffee break in the garden at Villa Salviati. (Photo courtesy of Serge Noiret)
Una città di provincia sì, ma piena di iniziative e di contatti internazionali, che è stata all'avanguardia nell'attuazione dei distretti industriali, pronta a cimentarsi nella costruzione di un nuovo 'distretto culturale'.
"L'obiettivo della PH è chiaro: far uscire la storia dall'università, farla fruire da un pubblico più vasto, da tutti, con tutti gli strumenti possibili." aggiunge Paolo Bertella Farnetti, "E' la risposta corretta all'innegabile domanda di storia che arriva dalla nostra società. Una domanda che viene spesso disattesa dagli storici tradizionali e che quindi viene affrontata per lo più da dilettanti volenterosi, più o meno in buona fede, con grave rischio per la verità storica. La storia accademica avrebbe molto da guadagnare dallo sviluppo della PH. Partendo sempre da una metodologia scientifica i professionisti della PH vogliono arrivare a far amare la storia, a farla diventare un valore condiviso e a coinvolgere il pubblico in questo processo. In Italia già molte iniziative fanno parte della Public History senza averne la consapevolezza. E' ora di dare rigore e visibilità a questa tendenza, è ora di utilizzare fino in fondo il patrimonio storico italiano, che è una ricchezza spesso immobilizzata".
Fabio Luppi

Come iscriversi?
  • Le iscrizioni sono aperte fino al 4 settembre 2015, alle ore 12:30.
  • Per l’accesso è necessario una laurea magistrale o vecchio ordinamento
  • Numero massimo di posti disponibili: 50.
  • Quota di iscrizione totale: 2700 euro (in due rate uguali) .
  • Quota di iscrizione per gli uditori 600 euro.
  • Bando d’ammissione
  • Direttore del Master: Prof. Lorenzo Bertucelli