726 THE SAGE HANDBOOK OF HISTORICAL GEOGRAPHY and military processes and legacies. Methodologically, historical geographers have been creative in using archival research to attempt to recover and piece together the lived experiences of war.
726 《史学地理学智慧手册》和军事过程与遗产。在方法论上，历史地理学家在利用档案研究方面非常有创意，试图重建和拼凑战争的生活经历。
Wilson (2011) uses letters, diaries and memoirs to explore how British soldiers on the Western Front in the First World War attempted to make sense of, or locate the war-torn landscapes, poverty and refugees they witnessed. For McGeachan: " t]he sheer scale of destruction and devastation of war can never be fully accounted, but the processes of sifting through the human, material, social, political and cultural debris will continue in order to seek understanding into the lives and world that have been lost, altered, or obliterated' (McGeachan 2014, 834).
Wilson（2011 年）使用信件、日记和回忆录探讨了一战期间英国士兵如何试图理解或找到他们目睹的战争破碎的景观、贫困和难民。对于麦吉钦来说：“战争的毁灭和破坏之巨无法完全计算，但筛选人类、物质、社会、政治和文化残骸的过程将继续，以寻求对已经失去、改变或被抹去的生活和世界的理解”（麦吉钦 2014 年，834 页）。
For historical geographers to move across and between scales may be a matter of being more explicit about practical methodology. Most archives are replete with official military documents, maps, plans and diaries, as well as memoirs, letters, personal diaries, photographs, poems. Doing the historical geographies of military lives and worlds involves moving through and between national archives, museums, battlefields, monuments, family attics, photo albums and heirlooms to elicit oral histories or 'give voice' to things never discussed.
对于历史地理学家来说，跨越和在不同尺度之间移动可能是更加明确地关于实际方法论的问题。大多数档案馆都充斥着官方军事文件、地图、计划和日记，以及回忆录、信件、个人日记、照片、诗歌。进行军事生活和世界的历史地理学涉及在国家档案馆、博物馆、战场、纪念碑、家庭阁楼、照片集和传家宝之间移动，以引发口述历史或“给那些从未被讨论过的事物发声”。
The debris that is the military archive can help to resist neat narratives or contained histories (Forsyth 2016b); as war seeps into and bleeds out of combatants' bodies and the nation's body politic, so do its traces and narratives in the archives.
军事档案中的碎片可以帮助抵抗整洁的叙述或包容的历史（Forsyth 2016b）；随着战争渗入和流出作战人员的身体以及国家政治体系，档案中也会留下它的痕迹和叙述。
Thus, for the historical geographer as for others, recovery is an ethical responsibility.
因此，对于历史地理学家和其他人来说，恢复是一种道德责任。
Experiences of war or of the military can never be fully captured or represented: as for all historical enquiry, there are ethical and political requirements in sensitively tracing the accounts and actions of those involved.
战争或军事经历永远无法完全捕捉或代表：对于所有历史研究，都需要在敏感地追踪参与者的账目和行动时遵守道德和政治要求。
In the fourth approach, historical geographers have engaged with the geographies and temporalities of military activities in reflections of postcolonial theory.
在第四种方法中，历史地理学家已经开始探讨军事活动的地理和时间特征，反映了后殖民理论。
There is a need, too, to explore the potentials in other places and peoples' experiences of the military in order to make its geographies and their consequences accountable. Work in postcolonial geography has helped advance historical geographical engagement with the military.
同样，有必要探索其他地方和人民对军事活动的体验中的潜力，以便使其地理及其后果能够解释。后殖民地理学的研究有助于推动历史地理学与军事的互动。
Tahir (2017) examines the ways in which the juridical institutionalisation of Federally Administered Tribal Areas (FATA) as 'exceptional' enabled drone operations in the region.
Tahir（2017）研究了联邦管辖部落地区（FATA）作为“特殊”地区的法律制度化如何促成了该地区的无人机作业。
She argues that this is facilitated through a discourse which draws explicitly on racist tropes with roots in early twentiethcentury British colonial air policing: in that sense, the present configuration of the region is an historical legacy of an imperial 'frontier imagination'.
她认为，这是通过一种借鉴了根植于二十世纪初英国殖民地空中警察的种族主义陈词滥调的话语来促成的：从这个意义上讲，该地区的现行配置是帝国'边疆想象'的历史遗产。
Research rooted in postcolonial studies historicises the contemporary legacies of colonial control and the imperial cultural imaginary.
基于后殖民主义研究的研究将殖民统治和帝国文化想象的当代遗产历史化。
It also makes room for different voices in critical military geographies to shape understandings of the ways in which military processes are situated, socially constituted and diverse (Rech et al. 2015).
它还为批判性军事地理学中的不同声音提供了空间，以塑造对军事过程的定位、社会构成和多样性的理解（Rech 等人，2015 年）。
Examples range from the ways in which postindependence territorial conceptions and conflicts were framed (Campos-Serrano and Rodriguez-Esteban 2017), how military science has shaped traditions of and challenges to national identity (Capello 2018), how cities are hybrids of colonial and indigenous planning and land use (Bigon and Hart 2018), and how we can, in narrative form, challenge the occlusion of narrow military histories in liberation history (McGregor 2017).
例子包括后独立领土观念和冲突的构建方式（Campos-Serrano 和 Rodriguez-Esteban 2017），军事科学如何塑造了国家身份的传统和挑战（Capello 2018），城市如何是殖民地和土著规划和土地利用的混合体（Bigon 和 Hart 2018），以及我们如何可以通过叙事形式挑战解放历史中狭隘军事历史的遮蔽（McGregor 2017）。
In sum, these historical geographies of the military unsettle both the legitimacy and the inevitability of military violence by expanding upon who, what and where is included in the legacies of military phenomena.
总的来说，这些军事历史地理学通过扩展军事现象的遗产中包含的人、事和地点，动摇了军事暴力的合法性和必然性。
HISTORICAL GEOGRAPHIES OF MILITARY TECHNOLOGY This section examines how expanding historical geographies of military geographies to focus on technology is important in unsettling the legitimacy and the inevitability of
军事技术的历史地理学本节探讨了将军事地理学的历史范围扩展到技术领域对于动摇军事现象的合法性和必然性是重要的。

PHOTOGRAPHY, TRAVEL, ARCHIVES 963 econtextualized form. Both macroand microd levels of encounter warrant unpacking. Archives as Spaces of Photographic Encounter At the macro-level, archives are spaces of photographic encounter.
摄影，旅行，档案 963 econtextualized 形式。宏观和微观层面的相遇都值得深入挖掘。档案作为摄影相遇的空间 在宏观层面，档案是摄影相遇的空间。
I have explored this in some detail elsewhere (Schwartz, 2002, 2006, 2020).
我在其他地方已经详细探讨过这一点（Schwartz，2002 年，2006 年，2020 年）。
What is important to emphasize here is that archives, as public heritage institutions, differ from libraries and museums in their mandates, priorities, operations, and audiences, and that archivists differ from librarians and curators in their professional expertise, disciplinary perspectives, and institutional practices.
这里需要强调的重点是，作为公共遗产机构的档案与图书馆和博物馆在其任务、优先事项、运营和受众方面存在差异，并且档案管理员在其专业知识、学科视角和机构实践方面与图书馆员和策展人不同。
These differences matter. Often naturalized or veiled, unintelligible to users or ignored by researchers, everyday institutional practices account for what ends up in archives, and how researchers understand and obtain access to materials preserved there.
这些差异很重要。通常被自然化或掩盖，对用户来说难以理解或被研究者忽视，日常机构实践决定了最终存档的内容，以及研究者如何理解和获取那里保存的材料。
Archival arrangement, description, and access have the power to privilege and marginalize. These everyday practices frame archives as spaces of photographic encounter.
档案的整理、描述和获取具有特权和边缘化的权力。这些日常实践将档案构建为摄影相遇的空间。
It is, therefore, important that scholars pay critical attention to the ways in which photographs are arranged, described, and made accessible in physical and digital form, since these institutional practices shape the research they conduct and the kind(s) of (hi)stories they write.
因此，学者重要关注照片在实体和数字形式中是如何整理、描述和获取的，因为这些机构实践塑造了他们进行的研究以及他们撰写的故事的种类。
'Archives' is used in everyday parlance to refer to any collection of old documents or historical photographs, regardless of how they are accumulated and preserved, but an 'archive' or 'archives' in the strict traditional or professional sense is not simply any aggregation of historical documents.
'档案'在日常用语中用来指代任何旧文件或历史照片的收藏，无论它们是如何积累和保存的，但在严格传统或专业意义上，'档案'或'档案馆'并不仅仅是任何历史文件的聚合体。
Equally, the difference between the 'real' bricks-and-mortar world of archives and the metaphorical archive of comprehensive knowledge of Michel Foucault (1972), Thomas Richards (1993), Jacques Derrida (1996), and others has methodological implications for the ways in which research in historical geography is conducted.
同样，'真实'的档案实体世界与米歇尔·福柯（1972 年）、托马斯·理查兹（1993 年）、雅克·德里达（1996 年）等人的综合知识隐喻档案之间的区别对历史地理研究的方法论有影响。
The Society of American Archivists' Glossary of Archival and Records Terminology offers a basic definition of 'archives (also archive)' as: Materials created or received by a person, family, or organization, public or private, in the conduct of their affairs and preserved because of the enduring value contained in the information they contain or as evidence of the functions and responsibilities of their creator, especially those materials maintained using the principles of prov enance, original order, and collective control; per manent records.
美国档案学家协会的《档案和记录术语词汇表》对'档案（也称为档案馆）'提供了一个基本定义：由个人、家庭或组织（公共或私人）在开展业务时创造或接收的材料，并因其所包含信息的持久价值或作为其创作者的功能和责任的证据而保存，特别是那些使用来源、原始秩序和集体控制原则维护的材料；永久记录。
(Pearce-Moses What I want to highlight here is the emphasis on the remit of archives as simultaneously administrative, fiscal, legal, and historical; their nature as organic accretions; their value as 'evidence of the functions and responsibilities of their creators'; and their adherence to 'principles of provenance, original order, and collective control'.
（Pearce-Moses 我想在这里强调的是档案的职责同时包括行政、财务、法律和历史；它们作为有机堆积物的本质；它们作为“创作者职能和责任的证据”的价值；以及它们遵循“来源、原始秩序和集体控制原则”。
How materials in archives are acquired, arranged, described, and made accessible is, thus, a discursive (and professional) practice with a vocabulary of its own. Albums as Spaces of Photographic Encounter At the micro-level, photograph albums are spaces of photographic encounter.
因此，档案中的材料是如何获取、整理、描述和提供访问的，因此，这是一种具有自己词汇的话语性（和专业性）实践。相册作为摄影相遇的空间在微观层面上，照片相册是摄影相遇的空间。
By their very nature, they present historical geographers with an amalgam of physical object, cultural artifact, historical record, individual images, and visual narrative.
由于它们的本质，它们向历史地理学家呈现了物理对象、文化文物、历史记录、个别图像和视觉叙事的混合物。
Institutional priorities for the preservation of such physically and intellectually complex objects proceed from different - often tacit, sometimes conflicting - theoretical aims, professional concerns, disciplinary perspectives, and practical considerations.
对于保存这种在物理和智力上复杂的对象的机构优先事项，往往源自不同的理论目标、专业关注、学科观点和实际考虑，有时是明示的，有时是冲突的。
Users of publicly accessible photograph collections in institutions with widely different mandates ignore these at their peril, because what is privileged - the album as a material object, the photographer(s) represented in it, the information or quality of the individual images, and/or the meaning(s)/narrative(s) embedded in them - depends on the assumptions that institutions hold and the values they impose.
在具有广泛不同任务的机构中公开可访问的照片收藏品的用户如果忽视这些，就会面临危险，因为什么是特权的——作为物质对象的相册，其中所代表的摄影师，个别图像的信息或质量，以及/或者嵌入其中的意义/叙述——取决于机构所持有的假设和他们强加的价值观。
Because decisions governing the preservation of
由于决定管理保存

HISTORY, GEOGRAPHY AND THE GEOHUMANITIES 1033 drilling and using explosives to create the power station; of amateur artist Elizabeth Falconer, who created a gilded mural for the turbine room floor; and of the 450 million year-old granite itself.
历史、地理和地球人文学 1033 钻井和使用爆炸物来建造发电站；业余艺术家伊丽莎白·法尔科纳创作了涂金壁画，用于涡轮机房地板；以及这块 4.5 亿年历史的花岗岩本身。
The work enables an exploration of the unseen and unseeable, and enfolds hidden histories of the mountain that mesh extremely dangerous labour practices, mundane stories of the faking of generator sounds for important visitors, and the longer presence and materiality of the granite.
这项工作使人们能够探索看不见的和不可见的东西，并揭示了这座山的隐藏历史，其中包括极其危险的劳动实践、为重要访客伪造发电机声音的平凡故事，以及花岗岩更长久的存在和物质性。
'Millennia', as the radio play says, 'compressed into millimetres'. 19 History? Geography? Art?
如广播剧所说的，“千年”被压缩成“毫米”。历史？地理？艺术？
To ask such questions is less interesting than to consider the expanded field of knowledge-making, such that the interrelations of these three are not only accepted but actively cultivated.
提出这样的问题不如考虑知识创造的扩展领域有趣，这样这三者之间的相互关系不仅被接受而且被积极培养。
While we could cite any number of art works that engage with concerns of history and historical geography, not least the growth of the archive as a site of and for creative practices (see Mereweather 2006 for a summary), it is the evolving form of these interrelations between creative practices and history and geography that is of interest here.
虽然我们可以引用许多涉及历史和历史地理问题的艺术作品，尤其是档案馆作为创造性实践的场所的增长（参见 Mereweather 2006 的总结），但这里感兴趣的是创造性实践与历史和地理之间的不断发展的形式。
Of course, historical geography has long turned to analysis of the art works, literature, and so on, of others as sources, but what is of interest here is the increasing intersection of creative doings with the academic practices of geography and history.
当然，历史地理学长期以来一直将他人的艺术作品、文学作品等作为来源进行分析，但这里有趣的是创造性活动与地理学和历史学的学术实践之间日益交叉的情况。
GeoHumanities does not just name the longstanding relationship between geography and the humanities, but also takes into account longterm relations between Geography and arts practice.
地理人文学不仅仅是指地理学和人文学之间长期的关系，还考虑到地理学和艺术实践之间的长期关系。
If, as recounted earlier, for centuries this took its most obvious form in expeditionary artists making, in the words of the British Admiralty, 'more perfect accounts than can be gained by words alone', then more recently geography and the arts have become related through geography's attention to creative methods and in the form of practicebased and practiceled research (Hawkins 2014).
正如早些时候所述，几个世纪以来，这在远征艺术家制作方面表现得最为明显，用英国海军部的话来说，他们制作的“比仅仅用文字获得的更完美的描述”，而最近地理学和艺术之间的关系是通过地理学对创造性方法的关注以及基于实践和实践导向的研究形式而建立的（Hawkins 2014）。
As such, we see geographers with a whole range of amateur and professional creative practices working as or alongside artists, writers, curators, playwrights, film makers, and so on (Driver et al. 2005; Crang 2010; Bond et al. 2013; Cutler 2013; De Leeuw 2017; Hawkins 2015).
因此，我们看到地理学家拥有各种业余和专业的创意实践，作为艺术家、作家、策展人、剧作家、电影制作人等的一部分或与之并行工作（Driver 等，2005 年；Crang，2010 年；Bond 等，2013 年；Cutler，2013 年；De Leeuw，2017 年；Hawkins，2015 年）。
Similarly, at least in the UK, we see a range of creative practitioners coming to work in Geography departments (as PhD students, residents or collaborators) or with geographical ideas. Geography is not alone in experiencing this 'creative turn'.
同样，在英国至少，我们看到一系列的创意从业者来到地理系工作（作为博士生、居民或合作者）或者与地理思想合作。地理学并不是唯一经历这种“创意转变”的学科。
Indeed, history too is seeing 'creative histories' that, in common with creative geographies, see collaborations with professionals in museum and gallery contexts; experiments by amateur practitioners with creative methods; concern with public engagement as well as challenges to archival practices.
的确，历史学也出现了“创意历史”，与创意地理学一样，与博物馆和画廊专业人士合作；业余从业者尝试创意方法；关注公众参与以及对档案实践的挑战。
The Creative Histories event, for example, run by Will Pooley from the Centre for Humanities at Bristol (UK), highlights the inventive nature of this work, exploring history in public, historical (non) fiction, visual histories and history and social media, outlining both longstanding practices (especially non-fiction writing) within history as well as new opportunities (for example, creative use of social media).
例如，由英国布里斯托尔人文中心的威尔·普利主持的创意历史活动突显了这项工作的创新性质，探索公共历史、历史（非）小说、视觉历史和历史与社交媒体，概述了历史中长期实践（尤其是非小说写作）以及新机遇（例如，创意使用社交媒体）。
20 Creative Histories and Creative Geographies are both, then, longstanding fields of work that have of late come to wider attention.
20 个创意历史和创意地理学都是长期存在的工作领域，最近引起了更广泛的关注。
In what follows, I want to explore three shared traits of this work - archiving, writing and practicing - to reflect on some of the possibilities but also the challenges of future work in this area.
在接下来的内容中，我想探讨这项工作的三个共同特点 - 档案编制、写作和实践 - 以反思这一领域未来工作的一些可能性，但也面临挑战。
These are less intended as surveys and more as offering models for thinking through the different kinds of relationship between creative practices, Geography and History that we might encounter. Archiving A legion of artists has taken to the archive of late.
这些内容不太意味着调查，而更多地是提供了一些模型，用于思考我们可能会遇到的创意实践、地理和历史之间不同关系的方式。档案编制最近有大批艺术家开始利用档案。
Oftentimes, as for Fusco, whose Master Rock opened this section, archives offer rich sets of resources for making artwork.
在许多情况下，对于福斯科来说，他的《主岩》开启了这一部分，档案提供了丰富的资源，用于制作艺术品。
The result is artwork that seeks to animate and perform stories of people and place, but also
结果是艺术作品试图使人和地方的故事生动起来并表演，但也

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