Same planet, different worlds: Environmental history conference comes to Bristol

By Professor Adrian Howkins, Department of History

In early July 2022, Bristol will play host to the European Society for Environmental History (ESEH) conference. The conference – which usually takes place every two years – will have the overarching theme of ‘Same planet, different worlds: environmental histories imagining anew’.

This is only the second time the ESEH conference has taken place in Britain, and the first time it is happening in England – the first ever ESEH conference took place in St Andrews in Scotland in 2001. The decision to hold the conference in Bristol reflects the strength of environmental history research at the University of Bristol, as well as the city’s strong environmental reputation. More broadly, it reflects the strength of the University of Bristol in the wider field of environmental humanities, which includes environmental history research.

“Environmental humanities are interdisciplinary areas of research, combining the traditional humanities – such as literature, music, history and languages – with areas including science and technology to better understand the relationship between humans and their surrounding environment, both social and natural. Environmental humanities can help us learn about the environmental challenges of the past, address those of the present, and plan for the future.”

The University of Bristol’s Centre for Environmental Humanities (CEH) in the Faculty of Arts is firmly established as one of the leading centres for environmental humanities research in the UK, and there is a wide range of exciting projects taking place. Do follow our CEH blog to keep up with everything that is going on.

Group of researchers look out across a waterway towards a stone bridge in the distance. The area is grassy with trees in full leaf.
Centre for Environmental Humanities field trip

In preparation for the ESEH coming to Bristol, Adrian Howkins – one of the co-directors of the CEH – spoke to Marianna Dudley and Andy Flack who are organising the conference.

What is the European Society for Environmental History?

[Marianna] The ESEH is the leading scholarly organisation for people interested in environmental issues from a humanities perspective. It is European, but that doesn’t exclude people in other parts of the world working on this topic. It is very inclusive, and has grown to include a wide range of scholars. It offers networking, mentorship, peer-to-peer support, and a discount on the Environment and History journal. It also has by far the best academic conference going, which moves around Europe and is coming to Bristol this summer!

Why is it important that the conference is coming to Bristol?

[Andy] It recognises Bristol’s status as an environmentally aware and activist city as well as recognising that the University is involved in environmental issues through the Centre for Environmental Humanities, the Cabot Institute, and other research centres and clusters. It is the first time the ESEH has been in the UK since the first meeting in 2001 (St Andrews), and the first time in England. The decision to come to Bristol shows that despite political developments like Brexit, the United Kingdom is still at the heart of the European scholarly community studying environmental change. We love living and working in Bristol – it’s a fun, vibrant, welcoming city and we want to show our colleagues from around the world what a great place Bristol is.

What impact do you hope to have as a result of the conference?

[Marianna] It felt more important than ever to have an in-person conference after such a long hiatus due to the Covid-19 pandemic. We’re looking forward to bringing our scholarly community together and reforging the connections that are so important to our work. In terms of academic legacies, we want to spotlight Bristol as a place to study environmental history and environmental humanities. We hope that other scholars around Britain will seek us out for postgraduate research, postdoctoral fellowships, and academic collaborations, maintaining and building the exciting work that is already taking place.

What opportunities are there for our students to get involved in the Centre and/or the Conference?

[Andy] There will be opportunities for students to get involved in the running of the conference. This will put our students in touch with scholars from all around the world. Please get in touch if you might be interested in joining our conference team. If anyone would like to attend the conference to see what it’s all about, we’ll be offering day rates for University of Bristol staff and students to come to talks and meet with conference attendees. There will be interactive environmental art installations, a talk on wildlife film, science and humanities conversations, and a poet in residence.

If you would like to register for the conference, you can find further details here.

A tale of two cities: The historical links between Bristol and Dublin

By Professor Brendan Smith, Professor of Medieval History

When we think of British cities with strong Irish links it is likely to be Liverpool, Glasgow, Manchester, Birmingham and London that first come to mind. In terms of historical longevity, however, no city on this island can match Bristol’s connections with Ireland.

The medieval connections

2021-2 marks the 850th anniversary of the conquest of Ireland by King Henry II of England. During his stay in Dublin at Christmas 1171, the king issued an extraordinary charter whereby he granted Dublin to ‘my men of Bristol’ and gave them permission to colonise their new possession.

Image of King Henry II's charter of 1171 - the paper is old and brown, with elegant script
King Henry II’s charter of 1171 (Dublin City Library and Archive)

Links between the two towns were already strong by this time. Ham Green pottery, manufactured on the banks of the Avon near Pill, was popular in Viking Dublin, and the vigorous trade in slaves conducted between Dublin and Bristol in the eleventh century inspired bitter criticism from churchmen before William the Conqueror and his successors brought this vile commerce to an end. After 1171, many important trading families from Bristol established branches across the Irish Sea, while stone quarried at Dundry, to the south of the city, was transported in large quantities to Ireland for use in the new churches and monasteries that the English began to build.

King Henry II issued an extraordinary charter whereby he granted Dublin to ‘my men of Bristol’ and gave them permission to colonise their new possession.

In February 2022 a symposium focusing on the medieval ties between the two towns was held in Dublin to mark the anniversary of Henry II’s grant. The Deputy Lord Mayor of Dublin welcomed the Lord Mayor of Bristol to the event with a certain wariness, since the original charter of 1171 was never officially revoked!

The age of Edmund Burke and beyond

Statue of Edmund Burke atop a plinth at St Augustine's Parade, Bristol, UK
The statue of Edmund Burke in Bristol
(Credit: Tim Green, Wikimedia Commons, CC BY 2.0)

In Bristol, on 20 April 2022, the University hosted the ‘return match’, with a symposium considering more recent ties between Dublin and Bristol, beginning with the career of the great political philosopher Edmund Burke (1729-1797). Burke was born in Dublin and was educated at Trinity College Dublin before developing a successful political career in England. Between 1774 and 1780 he was MP for Bristol, though his views on a range of issues made him unpopular with the city’s ruling elite. Two fine statues of Burke can still be seen today, one outside the gates of Trinity College Dublin, and the other on St Augustine’s Parade in the centre of Bristol, a few metres in front of the now empty plinth where Edward Colston’s statue once stood.

The University hosted the ‘return match’, with a symposium considering more recent ties between Dublin and Bristol.

The celebratory event

The University was delighted to welcome Ireland’s Ambassador to the UK, Mr Adrian O’Neill, at the recent event, who spoke warmly about the opportunities the day had provided to further strengthen links between Bristol and Dublin. In addition, Professor Martyn Powell (Head of the School of Humanities), Dr Erika Hanna, of the Department of Historical Studies, and Professor Steve Poole of the University of the West of England delivered academic papers and a guest lecture was given in the evening by Professor David Dickson of Trinity College Dublin. To coincide with the event, an exhibition was staged at the venue, displaying some of the important Irish-related materials held in the University of Bristol’s Special Collections department. This included early editions of some of Burke’s published works, as well as a sample of Irish political pamphlets dating from between the eighteenth century and the Easter Rising of 1916. The close ties that have existed between the University of Bristol since its foundation and Trinity College Dublin were also explored in some of the exhibited material.

The future

Following the guest lecture a reception was hosted by the Vice-Chancellor, Professor Hugh Brady, whose Irish background provided a fortuitous link to the day’s events. Professor Brady welcomed to the University Ambassador O’Neill, the Deputy Lord Mayor of Dublin, Councillor Joe Costello, the Lord Mayor of Bristol, Councillor Steve Smith, and members of the Bristol Irish Society. Councillor Costello promised that on his return to Dublin he would continue to work with his counterpart in Bristol to bring about a new twinning arrangement between the two cities. Reviving awareness of the historical links between Bristol and Dublin seems likely to lead to their further strengthening in the years ahead.

Attendees at the 850th Anniversary of Henry II's Grant of Dublin to Bristol, School of Humanities, University of Bristol.
850th Anniversary of Henry II’s Grant of Dublin to Bristol, School of Humanities, University of Bristol.
From left to right: Professor David Dickson (Trinity College Dublin); Ambassador Adrian O’Neill; Bristol Lord Mayor Steve Smith; Professor Hugh Brady (University of Bristol’s Vice-Chancellor); Deputy Lord Mayor of Dublin Joe Costello; Dr Erika Hanna (University of Bristol); Professor Brendan Smith (University of Bristol); Professor Steve Poole (University of the West of England) and Professor Martyn Powell (University of Bristol).

 

Brendan Smith, Professor of Medieval History, is a Dubliner who was educated at Trinity College Dublin. He took up a lectureship at the University of Bristol in 1993. He has published extensively on the links between England and Ireland in the Middle Ages, and in 2018 edited volume I of the four-volume Cambridge History of Ireland, which was launched in Washington, D.C. in September 2018 by Joe Biden, now the president of the United States of America. Professor Smith is currently engaged in research projects examining the financing of English rule in medieval Ireland, with an emphasis on the deployment of Digital Humanities techniques and methodologies. He has received funding from The Jean Golding Institute to work with Mr Mike Jones, from Research IT, on the production of visualisations of the financial data contained in medieval Irish exchequer material. He will be presenting some of the fruits of this collaboration at the Bristol Data and AI Showcase at the MShed on 7 June 2022.

 

Jenny: Posed as a woman. An insight into trans history.

February marks LGBTQ+ History Month, a time to reflect upon the rich history of LGBTQ+ communities. It offers an opportunity to remember those who have fought for LGBTQ+ rights, consider the progress made, and look ahead to engage in a more inclusive, visible and equal future.

Piecing together history can be a fascinating puzzle. How can we properly represent the nuances of history in situations where the little information available to us comes from biased sources? What more can we learn about trans history? How can we talk about trans lives today by examining a story from over 100 years ago?  The Brigstow Institute brought together a team of researchers from different disciplines – history, law and performance art – to answer these questions.

‘Jenny: Posed as a woman’ explores the life of Jenny Moore, a person from an impoverished background in Gateshead in the early 1900s. Little information was available about Jenny and her life, save for criminal records and a few related newspaper articles. How did living outside the law shape her identity and experience?

We caught up with Dr Sarah Jones, a social and cultural historian of gender and sexuality, to learn more about the project, breaking the mould of traditional historical investigation, and using performance to enhance research.

‘Jenny: Posed as a woman’ is a fascinating interdisciplinary project bringing together the worlds of history, law and performance art. What led you to carry out this research, and why is this research important?

Often, the evidence about LGBTQ+ lives we find in the archives is focused on processes of regulation and control. While it is a rare gift to find personal testimonies or clues about what ‘real life’ might have been like for LGBTQ+ people in the nineteenth century, it is far more likely that we will find accounts of persecution and prosecution at the hands of bodies such as medicine and the law.

To some extent, this is true in the case of Jenny Moore – a person a judge said ‘always lived in the shadow of the prison door.’ When we encounter her story in our sources, we can learn a little about her arrests for theft or loitering, and perhaps gain little snippets of insight into the challenges of being what we might think of as a trans woman in Victorian Britain. Our research, though, attempted to tell new and different stories about Jenny and her life. Bringing together our different fields of expertise, combining creative and academic practice, we wanted to capture more of the rich, complex essence of a character like Jenny Moore. As well as helping us reflect on how our understandings of queer lives are shaped by archives focused on their often brutal encounters with the state, our project also sought to think about how we could tell fuller stories about LGBTQ+ people in both the past and present.

How did the team go about this research?

The project brought together a group of scholars and artists to try and explore Jenny’s life through different lenses. On the academic side, a group of colleagues (Professor Josie McLellan, Dr Jeanie Sinclair, Professor Lois Bibbings, Nic Aaron, and myself) with backgrounds in history or law explored the background and context of Jenny’s life. We considered what her world might have looked like, and also tried to track down more details of what she got up to as the Victorian era gave way to the twentieth century.

While we tried to create as rich a picture as possible of her life and times, we also attempted to ‘fill the gaps’ through creative practice – to use our existing knowledge to imagine the kinds of spaces she might have frequented, and the people she might have met. All of this research was workshopped with Tom Marshman – an artist and performer interested in ‘the outsider’ and their story, particularly regarding the LGBTQ+ experience, and stories from the queer history that have been omitted through silences in the archive. This process of collaborative and creative research has been feeding into a performance created by Tom, alongside composer, singer, and musician Jenny Moore, writer and performer Enxi Chang, and puppeteer Emma Powell.

What impact has this research had?

At the most basic level, we’ve told a version of Jenny’s story. Her little corner of late nineteenth- and early twentieth-century Britain could have easily been totally lost to history – dismissed, perhaps, in traditional academic work because the evidence we have about what her life was like is patchy and our picture of her incomplete. Creative projects like this one give us room to tell different stories of the past, and to build insights into LGBTQ+ lives that might slip between the cracks in the archive. In a contemporary moment where the rights of LGBTQ+ (and particularly transgender) people are under attack, it feels more important than ever to engage the public with stories like Jenny’s.

Beyond this, we’re also hoping the project will have broader applications. Nic, one of the research team, is investigating how we might be able to use Jenny’s story to uplift trans people – especially, they note, those at the sharp end of criminalisation like Jenny was. As part of this, for example, Nic has connected our work with the Bent Bars Project, drawing links between Jenny and the experiences of trans people who are currently incarcerated. Our research, then, has helped us to reflect on how we approach LGBTQ+ history, engaged the public with some intriguing and timely trans history, and has started us thinking about how historical work around gender diversity can be relevant to trans communities today. In short, the project honours Jenny but is bigger than her alone.

What are the next steps for the project team?

For now, our collaboration is wrapped up. On the research side, Nic, Jeanie and I are preparing a chapter that reflects on the project and how and why we worked together. In that publication we look to reflect on the messiness of working with an incomplete and often problematic archive, and the benefits and challenges of multi-disciplinary and creative research. We also look forward to seeing the performance take shape. Tom has prepared a work in progress version of the show, and we’re hopeful that there will be a full performance coming to a theatre sometime this year.

Further information:

Learn more about ‘Jenny: Posed as a woman’ by watching ‘Brigstow Presents: Hidden Histories and Performing the Archive’ and visiting Brigstow’s project page.

Find out how the University of Bristol is marking LGBTQ+ History Month 2022.

Discover the wide range of undergraduate and postgraduate courses offered by the University of Bristol’s Faculty of Arts.

A Map of Medieval Bristol

By Professor Helen Fulton, Chair in Medieval Literature, Department of English
Image of the cover of 'Bristol in 1480'
Cover of Bristol in 1480: A Medieval Merchant City

One of my research directions is aimed towards medieval towns and urban culture, especially in the region of the March of Wales. Some while ago I collaborated on an Arts and Humanities Research Council (AHRC) project on medieval Chester which resulted in an online map of the medieval streetscape of the city, with links to its major churches and buildings. This inspired an interest in the possibilities of mapping ­­– both digital and hard copy – as a tool for research, education, and public engagement.

As a Trustee of the Historic Towns Trust (HTT), which produces hard-copy maps of historic towns throughout the UK, I took on the leadership of a project to produce a map of medieval Bristol, which was published in December 2020. I worked in partnership with Professor Peter Fleming at UWE, a renowned expert on medieval Bristol, and a team of local historians and archaeologists from the city of Bristol. Our first job was to decide roughly what period of time would be covered by the map – it is possible to layer maps on top of each other to show features and streetscapes from different periods of time, and some of the HTT maps have done exactly that. For Bristol, however, it made sense to focus quite precisely on the year 1480, when a well-networked Bristolian, William Worcestre, made a survey of the city of Bristol on foot, literally counting how many paces there were between landmarks. Using this survey, together with many other historical records of the city, the team was able to reconstruct the layout of Bristol in 1480, along with its major churches, abbeys, gentry houses, taverns, industrial buildings, and even its water supply.

The production of this unique map was funded partly by public donations and partly by a generous grant from the University of Bristol Knowledge Exchange fund. We used the money to employ a research assistant, Dr Bethany Whalley, who researched the history of the various streets and buildings that are described in the Gazetteer on the back of the map. Crucial information was also supplied by our team of local experts, each of whom had specialised knowledge of the city’s history. I co-wrote the introduction to the map, describing the work of William Worcestre, and edited all the textual information on the map, including the street names and other words on the map itself as well as the Gazetteer. We worked closely with the HTT cartographer, Giles Darkes, whose beautiful artwork makes all the HTT maps stand out not only as useful reference guides but as works of art.

Despite being published during a pandemic lockdown, the map has sold very well and has been the topic of numerous public lectures, in person and online. The map was launched during the Fifteenth Century Conference in early September at St James Priory. We are now planning a workshop at the annual Historical Association conference to be held in Bristol in May 2022, and we are working with an educational consultant to produce a study package for Key Stage 2 students.

The Modern Histories of Witchcraft

Pumpkins have been carved. Costumes are being donned. Scary films are being watched from behind cushions and hands. Yes, Halloween is upon us once again, so we decided to delve into the past to find out more about the fascinating history of witchcraft. We’re joined (virtually!) by Dr Will Pooley, a social and cultural historian who gives us some interesting (and at times gruesome) insights. Read on, if you dare…

Trigger warning: the following interview contains mentions of violence and abuse.

Hi Will, thanks for joining us for this Halloween special. To many people, the word ‘research’ conjures up images of labs, safety goggles and petri dishes (all of which are important, of course!), but your area of research is quite different altogether and rather niche – can you tell us a bit more about it?

It’s true, I don’t spend a lot of time in a laboratory! My research is on modern histories of witchcraft. I focus on France, and on criminal trial records and newspaper accounts that deal with cases where people really did fear witches.

I’m certainly not the first person to notice these cases, but what I’ve been trying to do is get up close and personal with modern sorcery. Rather than just reading newspaper accounts – which often get things muddled up – I’ve spent a lot of time in regional archives taking advantage of the expertise and help of archivists who have worked to preserve the witness statements, medical reports, and other documents from nineteenth- and twentieth-century trials. I want to know what ordinary people thought and believed about witches, and the harms they believed that witchcraft caused.

That sounds fascinating! What do you think it is about witchcraft that people find so intriguing and has led to witch ‘stereotypes’ being so solidly linked to Halloween?

My colleague here at Bristol, Professor Ronald Hutton, recently wrote a wonderful book called The Witch: A History of Fear from Ancient Times to the Present which really delves into why it is that so many societies around the world share a concept of the witch: a malevolent living human being who causes harm through supernatural means. One of the things I take from Professor Hutton’s work, as well as the equally brilliant book by Diane Purkiss, The Witch in History, is that the stereotypes we have of ‘the witch’ do have a history.

A lot of people in Europe and North America will immediately picture similar images in their mind’s eye when you mention a witch: probably a woman, old, ugly, with a pointy nose, pointy hat, cat, broomstick, and cauldron. Of course, that is a cartoon image, but one of the things that the very long history of witchcraft around the world confirms is that witches have been thought of in many ways. Many societies have feared female witches, but others, such as early-modern Iceland, believed most witches were men. In some periods and regions, including the Democratic Republic of Congo today, it is children whose witchcraft has been most feared.

As for the link with Halloween, I have to confess I am no expert! What I would say is that while the connection between Halloween and the spirits of the dead is a longstanding one in western Christianity, witchcraft has – as far as I know – not been as intimately connected with Halloween. In my own research, I find that witches and witchcraft aren’t really tied to Halloween specifically. In fact, conflicts over witchcraft were probably more likely to bubble over during Carnival and other celebrations, when spirits were running high, and the wine, beer, or cider had been flowing!

Many people will have heard of seventeenth-century cases, such as the Salem witch trials in North America or the Pendle witches in Lancashire, but they may not be as familiar with the more recent history of witchcraft on which your research is focussed – what was it about this particular time period that sparked your curiosity?

I do find that a lot of people – even a lot of historians – are surprised when I say that I work on ‘modern witchcraft’, and that I mean fear of malevolent witches in the eighteenth, nineteenth and twentieth centuries in France.

In fact, a range of researchers have been working on this for many years. The historical field has really been led by Professor Owen Davies, who has written about a range of British, French, American and global examples. But as far back as the 1950s, the anthropologist Marcelle Bouteiller showed that fear of witches was very much still alive in France.

I’ve always been drawn to the mysterious and the supernatural, and I originally wanted to do my PhD on this topic. I’m glad I didn’t (great advice from my supervisor Professor David Hopkin!) because there is far too much material for a PhD. In fact, I know of close to 1,000 criminal trials or police investigations into cases involving witchcraft in France between 1790 and 1940, and there must have been a great deal more. Perhaps these cases are not as prevalent as during the most intense periods of witch-hunting in the early modern period, but they aren’t that rare! There are some villages and towns in western France where it seems as if there were witchcraft cases every few years in the nineteenth century…

Old French postcard caricaturing rural life, showing man with arm outstretched and three women looking fearful. Text reads 'Le grand sorcier' (The great witch).
This image of ’The Great Witch’ was one of many black and white postcards, often hand colourised, which caricatured rural life and were produced by printers around France. This one was made by Dugas et companie in Nantes.

How did perceptions of witches change following the decriminalisation of witchcraft in France?

So, witchcraft was effectively decriminalised in France in 1682, and definitively excluded from the new penal code in 1791. After that point, there were no grounds to prosecute people suspected of harmful magic for that magic alone.

How did this change perceptions of witches? Well I’ll give two contradictory answers the truth is probably somewhere between the two!

The first is that it didn’t change perceptions that much. Many witches continued to be suspected of the same misdeeds: they caused illnesses in humans and animals, especially afflicting young infants, pregnant and breastfeeding women, and dairy cows. The stereotypes of the witch remained stable in many ways, too. Normandy had been a region of male witchcraft in the early modern trials and continued to be so in the nineteenth century. In fact, so many of the cases I have found are from Normandy and the west of France – where witches were also predominantly thought to be men – that male witches dominate my research, much to many people’s surprise. But other regions with fewer cases, such as the Occitan-speaking regions of southern France, preserved the patterns of female witchcraft they had displayed during the witch trials.

On the other hand, there are really important changes in how witches were perceived and dealt with. I’ll mention just three. First, the Catholic Church generally tried to distance itself from questions of witchcraft. That didn’t stop some local priests from getting involved in witchcraft disputes, but the general effect it had on perceptions of witches was dramatic. Where the early modern trials were often focused on uncovering evidence of a pact with Satan, the modern cases have lost this drive. The Devil does not feature in most of them at all.

Drawing from Gaston Vuillier's Sorciers et magicieans de la Corrèze depicting an anti-witchcraft ritual
Although the Catholic Church renounced responsibility for dealing with suspected witches, many of the rituals used by people who feared witches drew on Catholic rites, as in this image from Gaston Vuillier’s ‘Sorciers et magiciens de la Corrèze’.

The second change in perception is connected to French colonialism and imperialism. From the eighteenth to the twentieth centuries there was a progressive racialisation of thinking about ‘witchcraft’. Journalists and researchers did not find it convenient to dwell on the ‘superstitions’ of the French population, and preferred to associate belief in witchcraft with the colonised populations of north and central Africa, the Caribbean, Madagascar, and Indo-China. One of the most depressing examples concerns Hégésippe Jean Légitimus (1868-1944). As a representative of Guadeloupe, Légitimus was only the second black man elected to the French National Assembly, and the first in over a hundred years. But his time in Paris was dogged by tabloid coverage of accusations of ‘witchcraft’ in Guadeloupe directed against Légitimus and other socialists.

The final thing to say about new perceptions is just how easily witchcraft in France – as elsewhere across the globe – adapts to new situations and problems. In addition to bewitched cows, French men and women complained of enchanted automobiles and bicycles. They described feelings of bewitchment in terms of electricity, images seen at the cinema, and in the language of up-to-date psychiatric and medical theories, such as neurasthenia. It’s very easy to slip into the same language that newspapers at the time used to describe people who feared witches, which assumes that these people lived in rural areas. But the truth is, there were witchcraft disputes in all of the large cities, and even rural witchcraft cases often involved individuals who worked in nearby industrial centres, in mines, or factories.

What is the most common misconception people have about the history of witches and witchcraft?

The biggest mistake people make is to think that the history of witchcraft is over! The ways that we – including historians! – talk about the early modern trials as a ‘craze’ or a ‘panic’ imply that our ancestors briefly lost their reason, before cooler heads restored order. There’s actually a lot of work by historians now that questions this story of the progressive rationalisation and secularisation of criminal justice and elite culture.

It’s not the area I research myself, but I think one good way to put this story of progress into perspective is to ask: how many countries today have laws against witchcraft? Violent persecution of witches today is such a great problem that the United Nations Human Rights Committee and UNICEF have both been working on measures to combat the harms justified by fear of witches. Closer to home, the Metropolitan Police in London have a special unit devoted to cases of child abuse connected to spiritual beliefs.

I think it’s really important to be careful about the continuing racialisation of these harms in the media and by the authorities. UN agencies focus their attention on cases in sub-Saharan Africa, and a lot of the coverage of the cases in the UK has concerned immigrants, as in the terrible child abuse case in Haringey at the turn of the millennium. But from what I know of contemporary French cases, it would be hasty to assume that witchcraft disputes in Europe today are limited to immigrant groups. In Brive-la-Gaillarde in 2016, for instance, an old woman was badly assaulted by her family members for witchcraft. Many people who do know something about ‘modern witchcraft’ will assume that I research Wiccans and other modern pagans. But I’m more focused on the fact that, sadly, fear of witches and violence connected to sorcery have not gone away in Europe even today, although the scale may have greatly decreased.

Why is your research specifically – and arts and humanities research more generally – so important?

I’ve been very influenced by other historians who argue that history performs a similar function for society as literature does: it allows us to imagine how different things could be. And the advantage that history has over literature in this respect is that we know this is not just an imaginative possibility: I research events and processes that really did take place. The past contains vast and varied different ways of organising societies and culture.

It might seem that the topic of my research is something of a depressing one to choose from this point of view. Who wants to update their sense of progress by discovering that belief in witches has continued to cause serious harms into the present day in Europe? But I would say that we do have responsibilities to come to terms with that, and to adapt our own self-understanding to recognise that – perhaps – fear of witches runs so deep in our culture, or even in some more fundamental layer of the human mind, that it cannot simply be educated away in science lessons or religious studies. A suitably scary thought for Halloween?

But I don’t think it has to be understood in a purely negative light. Conflicts, and especially the most violent ones, glow in the darkness of our knowledge of the past. It’s much easier to find evidence, for example, where fears of witches led to tragic results. And that isn’t always what happened. It’s harder work, but I am very interested by cases where tensions were defused through the interventions of clergy, or healers, or local officials, or community leaders of some kind.

I know many historians are uneasy about learning ‘lessons’ from the past, but I do think it’s worth thinking about how some communities and authorities have succeeded not in eradicating the fear of witches, but in mitigating and alleviating the harms these fears can cause.

You know people for whom witchcraft is a real force in the world, even if you do not realise it. The problem is not how to persuade them they are wrong about this, but how to prevent a situation in which a belief like this could cause harm. I still have some faith in arts and humanities research to address real problems like this!

Third Year History with Innovation student Jasmine Smellie on making the right choice studying an Arts degree

Third year History with Innovation student Jasmine Smellie talks to us about her degree, studying Innovation and why she made the right choice.

Before joining University, every time I mentioned I wanted to do an arts degree, the question that very quickly followed on was “what can you do with an arts degree?” In reply I would say “well what can you not do,” because I was confident in the skills I would acquire through university would set me with a range of understanding that could be moulded into any job position.

“I realise now how much I underestimated the true breadth of skills an arts degree could bring”

However, admittedly I remained secretly sceptical about what career it was, exactly, I was wishing to pursue. Since actually now studying History with Innovation, my perception has only got stronger. I realise now how much I underestimated the true breadth of skills an arts degree could bring, from analytical and comparative studies into textual information, to improved communication skills and learning how to work in teams.

“Some advice I would give to a new starter of an arts degree at University is to really have faith and belief in your own decisions and that you have chosen the right course for you”

Through Innovation, I have learnt skills that I have been able to apply during the summer whilst working at a cloud software based company, an internal communications design agency, and a variety of creative studios around Bristol. Which truly highlighted to me that when applied, the skills you acquire (sometimes unintentionally) through an arts based subject really can put you in good stead for any career area.

Some advice I would give to a new starter of an Arts degree at university is to really have faith and belief in your own decisions and that you have chosen the right course for you. Be confident to throw yourself into as many things you can, from drama and music, to working with the engineering and computer science based societies. The key is to explore all different areas, get to know what you like and dislike and where your strengths lie, but also see which areas you require people to work with you in order to create something.

Follow Jasmine’s blog on Linkedin for more information on studying Innovation and her internship experience at Home design studio in Bristol.

History PhD student, Chris Wemyss, tells us about his research and why Arts Matter

People often talk about the creative aspects of Arts and Humanities, but I was drawn towards studying History because I enjoyed the idea of challenging established facts and ideas. This has only grown through my Bachelors and Masters degrees, and now at PhD level I get the chance to design the questions I want to answer, and work out how to answer them.

My PhD research looks at the British community in Hong Kong from 1980 to 2000, tracking how it changed in preparation for the handover of the territory to China in 1997. Researching for this has taken me all over the UK, to the US, and to Hong Kong, allowing me to collect a variety of sources and interview many different people. Now in the final stages of my PhD, I am weaving these sources together to form a narrative that hopefully gives a unique insight into a relative recently period of history.

The Arts and Humanities have a reputation for exclusivity, and distance from the ‘real world’, but I have found this to be patently untrue during my studies. The stories I uncover on a daily basis, through newspapers, diaries, oral histories, letters, and other countless sources, put ordinary people at the centre of the historical narrative. They often have similar hopes and fears as people do today, and provide us with valuable insight into their period, and how it relates to today’s events.

History is also about developing skills that we sometimes take for granted. During my years of study I have learned how to research and find information quickly, comprehend the meaning of documents, and synthesise these into a narrative that can be written up. These skills are useful in everyday life, and I have used them extensively in jobs I have held during my studies.

The best thing about studying History, and the Arts and Humanities, is discovering the links between the city and country you live in, and much wider narratives. It helps give meaning to the streets you walk down everyday, and things we take for granted in everyday life, especially in a deeply historical city like Bristol. It also means that people here are interested in and care about the Arts and Humanities, and the times I have interacted with them at talks, debates, and exhibits have been the most rewarding of my time at university and remind me that arts matter outside the university just as much as inside.