Category: Postgraduate Matters

A slightly embarrassing confession: before my supervisor mentioned it, the need to travel overseas to do archival work had barely occurred to me. This might sound quite surprising coming from a PhD student in a history department, but in the historical work I have previously done I’ve used sources accessible online or in widely available books – for example, UK Hansard. My current research has led me to sources that are not available by digital means, and so in September of this year I went to London to visit the National Archives of the UK and the British Library to view them.
This is my first year of postgraduate study and I am working on the intellectual history of free trade and liberalism in Britain in the early-to-mid nineteenth century. I came to this from an undergraduate major in political science, and now working in a history department has been eye-opening for me in many ways. I have been playing catch-up with stacks of classic works of history, learning to ask new questions about my subjects, and thinking carefully about the nature of the work I am doing. Learning about archival research and doing it myself has been one of the most unusual experiences of my study so far.
This was my first research trip and a relatively quick one – I had four weeks to photograph as much as I could to bring back home to study and write about here. I was working mainly in the archive of a UK government body called the Board of Trade, located at the National Archives. I found certain information about the contents of this archive online, such as the names of its different sections and documents that comprise these, but I had no indication as to what it was all going to be like physically. This uncertainty made me very thoughtful about how the materiality of research materials and processes can shape the kind of work I am able to produce. What if the documents I wanted to see were extremely lengthy or difficult to manage? I would need to spend a long time copying each one and this would necessarily limit the amount of material I could collect in the time I had. If the documents were very short and light on details, however, I might need to seriously rethink aspects of my topic and expand or change the range of sources I planned to use.
I was concerned about making sure my time in London was productive and ended up becoming a bit anxious as a result of not having a clear idea of the nature of my archive. To help sort out my concerns I made a plan that would serve in a range of scenarios, setting out a core collection of documents that I especially wanted to see, as well as a larger range of things of interest. I kept firmly in mind that this was my very first research trip and that I needed to find a balance between being ambitious and realistic.
A particular challenge was deciding how I would gather all my research materials and how to store them securely. I knew I would most likely be taking thousands of photographs and wanted to have them organised in a way that would make them easily accessible for ease of use by my future self. I went with the programme Evernote, which can be used across multiple devices and would allow me to organise my photos very neatly. I have found it an extremely useful tool for taking photos and organising materials, but I would have benefitted from some deeper investigation into how it works. My tablet’s internal memory eventually came close to full capacity and I discovered that Evernote would not work if I shifted the application to my external memory card. This seems unusual for a programme that is quite clearly designed to store things – eating up internal memory is a nuisance and something I could only “solve” by resorting to using my phone to take photos for the last few days of my trip. I was also caught out by Evernote’s upload limit, and ended up needing to pay for a premium subscription to expand my upload allowance. Despite these setbacks (extremely stressful at the time!) Evernote worked quite well and, importantly, enabled me to store my photos online as well as in my devices’ memory to greatly reduce the chance of anything being lost permanently.
Difficulties aside, it was very exciting to actually be in London and feel a sense of being in the history I am writing. The archives presented many intriguing and funny moments: unfolding huge ornate petitions from groups of silk makers, holding letters handwritten by such prominent figures as Robert Peel, reading a note from one distinguished politician to another asking to catch up for a gossip session. I enjoyed even such simple things as feeling different kinds of paper and admiring beautiful handwriting. Spending long days on my feet was not always fun, but sheer fascination with everything I looked through made it easy.
I could have visited other archives, including some outside London, on this trip, but decided to stay focused on the Board of Trade as the point of connection between many of the people I am interested in and a curious institution in its own right. After just my first week looking over these materials, I began to see many interesting associations between individuals and details of their roles in or adjacent to the Board, and to free trade debates. I realised that I will gain so much more from visiting other archives on another trip when I have a more generous amount of time to spend and a clearer idea of what precisely I would be looking at. Documents like personal correspondence will be so much more meaningful to me once I have better general knowledge of the webs of connected people and institutions in my period of interest.
This research trip was a steep learning curve for me. I got a lot of “new things” out of the way, and I know that walking into an unfamiliar archive will seem much less daunting now. Figuring out how to manage my sometimes erratic attention span is an ongoing issue, as is management of adequate coffee-and-cake breaks. I am very much looking forward to my next trip, and until then I have thousands of pages of meeting minutes to keep me occupied.

It’s time to congratulate a few more of our stellar postgrads.
Michael Warren, PhD

The examiners’ reports for Michael Warren’s doctoral thesis – Unsettled Settlers: Fear and White Victimhood in New South Wales and Van Diemen’s Land, 1788 – 1838 – have just come in. In what is undeniably a crowded field, Michael’s ‘outstanding’ thesis has been praised for its originality. In the words of one examiner: ‘In breaking new ground on matters of historical and current importance, and in providing a history of some of the deepest emotions arising from the colonisation of New South Wales and Van Diemen’s Land, [this thesis] deserves a wide audience’. Michael’s work has been deemed ‘worthy of publication’, both as a series of ‘journal articles’ or as a ‘book’. This is an extremely impressive result.
Billy Griffiths, PhD
The Department also congratulates Billy Griffiths on what his examiners agreed was a stunning PhD thesis. As Billy’s supervisor Iain McCalman notes: it’s difficult to choose from among the shower of plaudits from his examiners. Here is one of the best short summaries of Billy’s extraordinary achievement: “Deftly weaving together biography, history and literature, an immense variety of Australian landscapes and ecologies with the many and complex strands of archaeology, Griffiths brilliantly charts the history of modern Aboriginal archaeology in Australia, and how the continent’s astonishing deep time history was discovered. … it explores the ways these new understandings transformed and continue to transform national narratives and sensibilities – the remarkable shift from the ‘young’ nation, a footnote to empire, to a continent with an ancient heritage, the ‘oldest continuous culture in the world’; from a nation which for most of its modern history forgot or ignored Aboriginal people and their culture, to a country where people increasingly realise that ‘Beneath a surface veneer, the evidence of ancient Australia is everywhere’ (p.4), a pulsing presence.” The examiner concludes by suggesting that this could be ‘a landmark book’.
Rainald Roesch, MA
And warm congratulations to Rainald Roesch whose MA thesis on Queensland’s attempted annexation of New Guinea in 1883 has received high praise from both examiners. It’s encouraging to see Rainald’s years of hard work in both German and Australian archives acknowledged. As one examiner noted, ‘Roesch is clearly across the relevant peaks in political and community interest in both Australia and Germany on the question of New Guinea. He makes excellent use of both English and German language sources and offers some cogent modifications to the earlier historiography, particularly the work of Tampke and Hiery. Bringing together the German and Australian material clearly enriches the historiography of both fields’. Both examiners praised the thesis for the quality of its research and writing. Rainald’s primary supervisor was Judith Keene, until Mark McKenna took over this role.
Many congratulations to all three.
Frances Clarke, Postgraduate Coordinator

A few days ago I spoke at the annual conference for the Society for the Medieval Mediterranean. The University of Ghent was this year’s host, and the medieval trading city was a perfect setting for a group of medievalists.

A view of St Nicholas’ Church in Ghent, taken just around the corner from our conference HQ.
It was a wonderfully diverse set of attendees (Austria, Beligum, Canada, Cyprus, Czechia, Egypt, France, Germany, Hungary, Israel, Italy, the Netherlands, Portugal, Russia, San Marino, Serbia, Spain, Turkey, United Kingdom, United States … and Australia). The diversity was matched in the presentations, with sessions ranging from the Cairo Geniza to religious minorities in medieval Iberia, Islamic and Christian accounts of the crusades to the circulation of intellectual culture across Mediterranean communities. It was inspiring to see this idea of a ‘the medieval’ decentered.
Professor Marina Rustow (University of Princeton) and Professor Nikolas Jaspert (University of Heidelberg) both gave keynotes. Of course, I delivered my paper but I was not the only person from the University of Sydney to do so. Dr Jan Shaw (from the Department of English) spoke as did the Department of History’s own Dr Hélène Sirantoine.
During one of the lunch breaks, I chatted with Hélène about where conferences sit in a historian’s work, what advice she had for those new to the experience, and why medieval Spain (her field of research and teaching … with a unit this coming semester) is important to medievalists and historians more broadly.

First up, what’s your conference paper on?

My paper was entitled ‘The Emperor and his Muslims: Andalusí identity through Christian eyes under the reign of Alfonso VII (1126-1157)’.

Where do conference papers sit within a historian’s work? How do you find them most useful?

Well, a conference paper can sit at various points of the historian’s work timeline. It can be the occasion to pitch a new research project and feel how the audience reacts to it. It is also the moment when one will make contacts with other scholars in the field, and maybe create fruitful collaborations. However, in most cases, a conference paper will be the opportunity to divulge the results of an ongoing or almost finished project. In a way, it is a sort of declaration to the academic world: ‘Look, this is what I’ve been doing in the past months/years. Be prepared to read my next article/monograph!’. And the deadline set by an upcoming conference also works, for many of us, as an incentive to finally write down what we would have otherwise left lingering in the limbo of procrastination.

Just before you were here you were at Leeds International Medieval Congress, which is one of the larger medievalist conferences. I was watching the #IMC2017 feed on Twitter and it is almost like a festival for medievalists as well. How does a big conference like that compare to something more focused? What are the benefits but also challenges?

The Leeds IMC is indeed one of the annual grand-messes of medievalists worldwide, with a paper programme so heavy that it can easily jeopardize one’s luggage allowance on the way back home! This year, I heard that there were about 2400 of us, and the number of parallel sessions was so large that the organising committee had to request one more building than usual to accommodate us all. I recall very well how intimidated I was the first time I attended the IMC a few years ago. But you have to keep in mind that such events are primarily designed for scholars to network, so the more of us there are, the more connected we get!
In that sense, the Leeds IMC is hardly comparable to a more human-size conference, whose purpose will generally be to discuss a particular topic in deptH. At those conferences, both participants and attendees are expecting scientific results above all. There are no book fairs or medieval reenactments, but many new ideas at the end of the day.

What things should a postgraduate consider when choosing a conference?

Sometimes, the conference chooses you! It is not rare to receive a CFP (call for papers) that matches one’s doctoral project. It is then a good opportunity to make a name for yourself among the community of scholars in your field. In any event, before sending a paper proposal, I believe that a PG student should always consider how the conference will fit into his/her agenda. If it is leading you too far from the immediate demands of the dissertation, then make sure that it won’t put you in a delicate situation in terms of timing. Ideally, the closer you get to your submission deadline, the more you should prioritise papers that will directly feed your dissertation.

I find sticking to a twenty-minute limit a real challenge. We hold our topics close to our heart and spend a lot of time researching the field, so it can be tough. How do you deal with this challenge?

Ah… Quite badly in fact! I generally write an over-large first draft of my papers, and then spend the days and hours before it is my time to speak shortening my whole argument (with a huge dose of frustration generated in the process). But then I remember that: (1) it was not a waste of time, as I will use my over-detailed draft for a later publication; (2) my audience was probably very thankful that I did not enter into too much detail that would have made my paper hard to follow. A conference paper is a subtle exercise of communication, so a short but well organised argument will convey your point in the most efficient manner.

What is the most defining characteristic that sets a conference paper apart from other scholarly ‘outputs’, such as an essay or article?

Again, a conference paper is an oral performance, during which footnotes and lengthy sentences will not help you make your point. At the utmost, projected slides, if they are well done, will assist. Besides, we do not read in the same way that we listen. Have you ever heard someone reading out loud something that was clearly meant as a written piece of rhetoric? It is a very painful experience!

Medieval Spain is your specialisation and you’re about to teach an undergraduate unit, ‘Reconquest: A History of Medieval Spain’. What does this particular history of medieval Spain offer the the discipline more broadly? Why is it important/intriguing, not just to Iberianists, but historians generally? Has scholarship on intercultural relations in medieval Spain offered methodologies and frameworks for other histories of intercultural/interfaith relations?

The main theme of the Leeds IMC this year was ‘Otherness’, and the conference you and I attended in Ghent dealt with ‘Emotions, imaginations, and communities in the medieval Mediterranean’. In both cases, the medieval Iberian Peninsula represents a particularly rich domain of investigation, with its multi-faith and multi-linguistic communities. It is actually quite interesting to observe that, decades ago, the Iberian Peninsula was for most medievalists a periphery of Christendom and a guarantee of exoticism. Nowadays, it is rather considered a centre of interculturality and a case study to measure changes in historiographical practices. This is partly what I aim to convey to students in my course on medieval Spain. It is actually called ‘Reconquest? A History of Medieval Spain’. The question mark is very important, as the notion of Reconquest is highly problematic, though commonly used. After all, it expresses none other than a Christian point of view that makes the Islamic history of Spain a deplorable parenthesis. In the unit, we study the origins of that notion of ‘Reconquest’, and how it was a construct of Spanish nineteenth-century national-catholicism. We also examine the tensions that the debates surrounding the notion generated all through the twentieth century, and the social and academic anxieties that its use still reveals today.

What project are you working on at the moment?

When I first started to investigate the history of the past in my Honours year, I wanted to work on the relationship between Christendom and Islam through the specific prism of multicultural Spain. My PhD dissertation then led me quite far from this project, and I wish now to make it the centre of my attention, with research focused on perceptions of the Islamic world by Christians Spaniards.
By examining how the Islamic world was depicted, named, and utilised in Christian Spanish documents of the early to high Middle Ages (9th-13th c.), the idea is to decentre traditional approaches to the field, which have privileged religious perspectives at the expense of polities, geopolitics, and history. The paper I presented in Ghent was directly linked to this project.

As an historian of early modern dress and material culture my research requires a wide range of documentation – wardrobe warrants, probate inventories and wills, visual sources such as engravings and paintings, popular literature like plays, didactic texts and broadside ballads, and even personal correspondence such a letters and diaries – in order to construct an accurate picture of a past material world. However, there are often still limitations to using only these traditional written and visual sources.

Wardrobe warrants and probate inventories can tell the historian the economics of clothing production – who ordered what, how many and when, as well as information about the materials used in their production, however, they don’t outline patterns or methods of construction. Other texts like popular literature and personal correspondence can tell us information about how these items functioned socially – what people thought of them and how that influenced social and cultural norms, but many of these sources express just that: thoughts, both popular and personal, leaving the historian to pursue the relationship between ideas and everyday embodiment. Then there are visual sources that are not only valuable in their own right, but can help to interpret the written record, allowing the historian to decode sometimes complex technical terminology or to match descriptions of dress with a dated image. Surviving artefacts themselves also hold the key to vast amounts of information that has been lost to the printed or archival record, or is not discernible in visual representations. For example, sweat marks and continued wear and tear in particular places on the garment can tell us much information about the effect that dress had on the body or that the body had on dress. Yet whilst the life of the garment (and that of the person who wore it) may still be visible on surviving artefacts, some questions remain unanswered, and this is where historical reconstruction can be a valuable research tool for the historian.
Historical reconstruction has, until recently, not been seen as a concern of the serious academic, believed to belong to television, re-enactors or living history museums. Yet reconstruction has been used by archaeologists, curators and conservators for many years. More recently, Ulinka Rublack from the University of Cambridge has incorporated reconstructions into her work on Renaissance fashion, leading the field in early modern material studies. Pamela H. Smith, an historian of early modern science, has established the Making and Knowing Project at Columbia University, which uses reconstructions of recipes from early modern texts to explore the intersections between artisan practices and scientific knowledge. Renown fashion historian and the figure to whom many of us now working in the field owe our gratitude, Janet Arnold, was also a pioneer of fact-based faithful reconstructions of historical dress, and institutes such as the School of Historical Dress run by Jenny Tiramani exist to teach both scholars and amateurs alike period-accurate construction techniques.

Two years ago I was awarded a grant by the Department of History at the University of Sydney to make, using historically accurate materials and sewing techniques, some of the items that my research examines – an Elizabethan bodie (corset) from around 1603, a mid-seventeenth century bodie and two styles of farthingale (structured underskirts) – in order to learn not only about the historical production process, but also to interpret the often polemical and sometimes outrageous sources that often describe early modern women and their dress. We may never know exactly how a sixteenth or seventeenth-century woman felt when she wore these items, nor am I suggesting that we can use reconstructions accurately to recapture bodily experiences from the past; it would be anachronistic to place these garments on a modern body unburdened by years of wearing restrictive clothing to see how “we” would feel wearing them, as historical notions of comfort and other sensory experiences vary widely. However, faithfully recreating these garments allows modern historians to not only understand historical methods of construction, but also to gain a more nuanced view of surviving historical records.
My four reconstructions took about one and a half years (of non-continuous hand sewing) to complete. All of these garments utilised period-accurate materials that were found in surviving wardrobe warrants and tailoring bills such as silk taffeta, linen, silk thread, and wool. As whalebone (‘baleen’) is, for good reason, not available anymore I decided to use a modern plastic alternative that mimics baleen’s properties such as its strength and flexibility.

The two ‘bodies’ were made to the exact size and dimensions as the original surviving examples, with the same sewing techniques employed in the originals to make the reproductions. Unlike the bodies, accessing an original or observation based pattern of either a French farthingale roll and French wheel farthingale was impossible as no examples of either style have survived anywhere in Europe. Instead, my reconstruction of these ephemeral garments was much more experimental and relied on archival material, visual images, as well as my own understanding of seventeenth-century construction techniques.

The process of reconstructing these garments by hand has given me invaluable knowledge about not only how to construct early modern dress, but also how to analyse surviving objects in museum collections – a skill which some scholars of historical dress still lack. Most importantly for my research, however, is the fact that placing these reconstructions on models of different sizes and instructing them to sit down, bend over and walk has allowed me to assess the visible physical limitations that these garments placed on the modern female body and then apply those observations to my historical research. This is one of the main merits of historical reconstruction: it allows us to reconstruct lost objects of the past to examine often problematic surviving historical sources, whether it is in relation to sources on production, or the everyday social embodied acts of wearing. After all these items were real, and many women (and some men) spent their whole lives wearing different styles of various sizes and shapes, and so reconstructing them not only allows the historian to become closer to the sources of the period, but also to people and their real and lived experiences of these items.
If you would like to read in more detail about the step-by-step process of making my reconstructions please visit my
own blog.

In July, I head off to do archival research at the Richelieu site of the Bibliothèque nationale de France (BNF) in Paris. The site is currently undergoing a large-scale renovation (although, thankfully, it doesn’t look like it will interfere with my work there). Archival spaces like the BNF are second homes for historians and other researchers, so I thought it’s a good opportunity to show one of France’s great archival institutions undergoing renovation.
Built in the nineteenth century, the Richelieu Library is the ‘historical cradle’ of the BNF, before a new centre was built on the Seine banks under the Mitterand Government in the 1980s (hence, the François Mitterand Library). Today, it houses the BNF’s special collections: performing arts, maps and plans, prints and photographs, manuscripts, coins, medals and antiquities.
The Richelieu Library is pretty spectucular. It’s everything we imagine a grand library to be, from massive, book-lined walls to the banker lamps on the desks. From 2009/2010, it’s been going through an equally spectacular staged renovation that is due for completion in 2020.
In December last year, one of the key stages was complete. The Labrouste Reading Room (pictured below) and Manuscript Room were completed as part of this stage.


I believe work has started on the equally impressive Oval Room (pictured below).


Source of above photo: Photographer Guillaume Dutreix (@guillaume_dx) on Instagram.
You can watch a short video documentary (14mins) about the renovation project. It is in French, but you can get the idea.

You can discover more about the Richelieu renovation project here: http://www.bnf.fr/en/bnf/renovation_work_richelieu.html

With just a few weeks until I head off to the archives in Paris, I wanted to share some of the preparation work I’ve been doing over the past several months. You can read about my PhD project here. I’m only in Paris for a few weeks, so I have to make the most of my time. I figured the more I can do in advance, the more efficient and fruitful would be my use of that time.
Added to this are two other challenges. First, it’s my first time doing archival research of this kind. Second, I discovered earlier this year that one of my archive sites is currently undergoing major renovations (until 2020!). This means materials might be inaccessible or relocated. I wanted to establish the state of play early on.
>Read my post on the Richelieu renovation project
I’ll be spending most of my time at two sites of the Bibliothèque nationale de France (BnF; the National Library of France): the Richelieu site (where the manuscripts room is located, pictured below) and the Bibliothèque d’Arsenal.

In this post, I wanted to share some of the questions I asked myself and learnings I picked up along the way. Some of these might seem really obvious, so apologies in advance. But, it’s often the obvious things that are the easiest to miss.
 
Here are five are five areas I’ve been looking at in preparing for my archives visit. If you have any to of your own to pass on, add them as a comment to this post.
 

1. What am I going to do there? Setting my research goals

What am I actually going to do there? Will I be spending time with sources, translating/transcribing them? Sifting through lots of archival material? Or will I just be taking copies of material to bring back home?
These are questions I had to work out. For my project, I don’t have to do a huge amount of sifting. My sources are relatively obvious and easy to identify.
Over the past six months, I have been identifying documents and manuscripts I want to access using the BnF catalogue and their amazing digital platform, Gallica. I set them out in a spreadsheet, noting:

• the key ‘metadata’ for each document (record number, document type title, publication year);
• what I wanted to do with the document (inspect, copy, transcribe, etc);
• comments or notes; and
• a priority rating on a scale of one to four.

Prioritising what I want to see is important. If I run out of time, at least I’ve copied the most essential.
It might be a bit OCD, but I’ve even scheduled what documents I want to work on specific days. In all likelihood things won’t go to plan, but at least I’ll have a something to work with when I get there.

2. Research the archives

Of course, it’s important to do some preliminary research into the institution that you’ll visit. If they have restricted hours or requirements for access, you don’t want to discover that when you arrive on their doorstep. Here are some of the questions I investigated (and, again, forgive me if they are obvious).

• What are their opening hours? Don’t assume that things are open every day 9am-5pm.
• Are there any public holidays that might mean the archives are closed?
• Are they undergoing renovations or any other work that might involve disruption to usual services? This is very applicable to me because the Richelieu site is undergoing renovations.
• What documentation do they require for permission to access material? Photo ID is easy, but what if they require a reference from your supervisor? The BnF, for example, requires an ‘Attestation Form’ to be completed by the supervisor and stamped with the university’s stamp.
• Is there an interview procedure beforehand?
• Are there any applicable fees for accessing material? The BnF requires you to have a Reader’s Card, which attracts a fee (tiered depending on duration of access).
• What procedures do they have for requesting material? How long do you have to wait from when you request something and when they deliver it? BnF has scheduled times for requesting material.
• Are there rules or restrictions on what you can do in the research space, such as only being able to use pencils or restrictions on copying/photographing material? 

3. Equipment and storage

What equipment do I need to use at the archives beside a notepad and pen? I guess this really depends on what you intend to do at the archives.
Since most of my time will be spent inspecting and copying (that is, photographing) sources, I needed to think about a way of storing all this data securely so I could work on it when I return to Sydney. Storage is a really important issue and there are several solutions, whether a hard drive, USB, or cloud-based options (such as Dropbox).
The big two issues are volume (lots of photos) and security (Paris is a long way from Sydney, so I don’t want to have all this data lost or damaged). Is a USB really the best solution in terms of volume and security? If I put everything on a device such as a laptop, tablet, or smartphone, what happens if that is lost or damaged? Should I back up my work? Yes!
My supervisor, Nick Eckstein, recently returned from an archives visit in Italy and offered some useful advice on storing the thousands of images he had taken of manuscript folios from the 1600s. I ended up going with a combination of cloud-based and hard-drive.
Fisher Library has a Research Data Management team that can provide advice and invaluable information organised into modules on this page: https://library.sydney.edu.au/research/data-management.
Also think about how you are going to organise your material so it all makes sense when you get back home. You don’t want to deal hundreds of random image files such as ‘IMG_089’.
Finally, don’t forget about things like power chargers etc.
 

4. Contact the archives

As I said, there are major renovations underway at the Richelieu BnF site. Another supervisor gave me the heads-up that this might affect access to material. I needed to establish whether anything I wanted to consult was affected, so I emailed the Department of Manuscripts at Richelieu specifying the manuscripts I most wanted to access. They responded, and we’ve been working through obtaining access approval for each source.
Contacting the archives before I arrive not only meant I could sort some of this stuff out before I arrived. It now means I have a few contacts within the BnF for when I am there. One of the archivists I’ve been exchanging emails with looks after the collection of Turkish manuscripts. This is a boon because the collection itself has its genesis in the very subject of my research. It is not only someone who can help me with locating material but who can relate the history of the collection itself.
So, I think it’s really useful to start building a relationship with archivists before you go, if possible. If the archives are in a non-Anglophone location, consider using the local language for communication (if you can) and observe professional communication practices.

5. Speak to other historians and postgrads (and follow them on Twitter)

I spoke to a few historians and fellow postgraduates in Sydney who had visited the archives I’ll be visiting, seeking their experiences and advice. This was incredibly helpful.
I also found some great advice on blogs run by institutions, historians, and postgraduates, including the following.

• ‘The ultimate, fool-proof, beginner’s guide to using the Bibliothèque nationale de France!’, by Ellen Ann Davis, who works in musicology at Oxford.
• ‘Using digital photography to capture archival material: some tips and tools’ on the Bodleian Library website (and includes a summary of photography rules for some key libraries).
• ‘How Evernote changed the way I work as a historian’, from Calum White At Balliol College, University of Oxford (but published on the Evernote blog).

Then there’s Twitter. You’ll be surprised how useful it is as a budding historian to follow your peers and established historians on Twitter. For example, I follow Dr Sara Barker (@DrSKBarker), who works on the French Wars of Religion and print culture at the University of Leeds. Sara was tweeting during her archival research at the Bibliothèque d’Arsenal in Paris. It was such a wonderful and invaluable insight into archival work, both the trials and tribulations. I asked her a few questions about the archives and she responded with fantastic advice, including where to get the best coffee nearby (vital advice for a researcher!) and what the air temperature is like inside (you don’t want to be freezing or sweltering during your time in the archives).
Here are some sample tweets from Dr Barker.


As another example of historians talking archival research on Twitter, here’s a great thread from Professor Marie Hicks (historian of technology): https://twitter.com/histoftech/status/868170316706701312
So, find the historians on Twitter who work in your field and follow them.
 
All of the above reflects some of the questions, thoughts, and practices that I considered in preparing for my archives visit in July. Let’s see what happens!
 
Meanwhile, if you have any tips or suggestions of your own, add them as a comment to this post.