Abstract
In the field of archives, professional identity is constructed around the twin notions of archivists as trusted custodians and archival institutions as trusted repositories. This essay examines the historical links between professional identity and trust and the ways in which those links are being attenuated and reconfigured in the digital world. It argues that new information and communication technologies and shifting currents of thinking inside and outside the field of archives are challenging and transforming the archival understanding of the relationship between trust and professional identity.
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Notes
The relevant sections of the Justinian Code have been translated from the Latin by Duranti (1994a, p. 41) with one alteration: I have translated the Latin phrase “fidem faciant” as "capable of making faith" where Duranti has translated it as "serve as authentic evidence." For a detailed discussion of methods of authenticating documents in ancient Rome, see Haighton (2010).
For a more detailed history of these developments, see MacNeil (2000, pp. 1–31).
The concept of the nation as an imagined political community is associated with the work of Benedict Anderson. For Anderson, the modern nation “is imagined because the members of even the smallest nation will never know most of their fellow members, meet them, or even hear of them, yet in the minds of each lives the image of their communion. …[It] is imagined as limited because even the largest of them …has finite, if elastic, boundaries, beyond which lie other nations. … It is imagined as sovereign because the concept was born in an age in which Enlightenment and Revolution were destroying the legitimacy of the divinely-ordained, hierarchical dynastic realm. …nations dream of being free, and …[t]he gage and emblem of this freedom is the sovereign state. Finally, it is imagined as a community, because, regardless of the actual inequality and exploitation that may prevail in each, the nation is always conceived as a deep, horizontal comradeship” (Anderson 2006, pp. 6–7).
The first “official” inventory was published in 1863 and focused on the series of documents known as the Layettes du Trésor des Chartes. The inventory was compiled by Alexandre Teulet and included an item level listing of the contents of the layettes (skippets) series, facsimile reproductions of the documents, information about the dates of the documents and the events they described, their status as originals and copies, the historical actors that authored or appeared in them, and the history of the series’ arrangements and re-arrangements by previous custodians and scholars. See Teulet (1977 [1863]).
The first articulation of the French principle of respect des fonds in an 1841 government circular was, for its part, “inhabited and animated” by the historical vision of France’s political regime of the time, the July Monarchy. According to Moore (2008), the July Monarchy, which governed France from 1830 to 1848, was committed to an organicist conception of history and continually compared the French nation to “a living being that had slowly grown into full maturity.” Viewed from this angle, the principle of respect des fonds was simply “an extension of [the July Monarchy’s] historical vision into the realm of classification. The newly ‘restored’ archival fonds would offer documentary proof of the slow and inexorable progress of the French ‘nation’ from the struggles of the medieval period to the triumph of the July regime” (p. 122). For a fuller discussion of the 1841 circular see Moore (pp. 117–123).
In a related vein, the concept of “performance authenticity” in art theory and its relevance to an understanding of the preservation requirements of digital records is discussed in Roeder (2008).
The notion of original order in relation to this broader time frame is discussed further in MacNeil (2008).
The ideological dimensions of “context” and “frame” and the kinds of agency involved in defining an inside and an outside have been explored perceptively by a number of writers and from a range of disciplinary perspectives including literary criticism and art history and theory. Culler (1988), Derrida (1987) and Mattick (1996) are useful starting points. Many of their insights are relevant and transportable to archival discussions of context.
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This is a revised version of a keynote address delivered at Questions of Trust: Archives, Records, and Identities, an international conference sponsored by the Forum for Archives and Records Management Education and Research for the UK and Ireland in association with Network of Archival Educators and Trainers, July 5–6, 2010.
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MacNeil, H. Trust and professional identity: narratives, counter-narratives and lingering ambiguities. Arch Sci 11, 175–192 (2011). https://doi.org/10.1007/s10502-011-9150-5
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DOI: https://doi.org/10.1007/s10502-011-9150-5