A greater fluidity in social relations and hierarchies was experienced across Europe in the early modern period, a consequence of the major political and religious upheavals of the sixteenth and seventeenth centuries. At the same time, the universities of Europe became increasingly orientated towards serving the territorial state, guided by a humanistic approach to learning which stressed its social and political utility. It was in these contexts that the notion of the scholar as a distinct social category gained a foothold and the status of the scholarly group as a social elite was firmly established. University scholars demonstrated a great energy when characterizing themselves socially as learned men. This book investigates the significance and implications of academic self-fashioning throughout Europe in the early modern period. It describes a general and growing deliberation in the fashioning of individual, communal and categorical academic identity in this period. It explores the reasons for this growing self-consciousness among scholars, and the effects of its expression - social and political, desired and real.

This timely look at a neglected corner of Japanese historiography spotlights the decade following the end of World War II, a time in which Japanese society was undergoing the transformation from imperial state to democratic nation. For certain working and middle-class women involved in education and labor activism, history-writing became a means to greater voice within the turbulent transition. Women's History and Local Community in Postwar Japan examines the emergence of women's history-writing groups in Tokyo, Nagoya and Ehime, using interviews conducted with founding members and analysis of primary documents and publications by each group. It demonstrates how women appropriated history-writing as a radical praxis geared less toward revolution and more toward the articulation of local imaginations, spaces and memories after World War II. By appropriating history as a praxis that did not need revolution for its success, these women used connections established by Marxist historians between history-writing and subjectivity, but did so in ways that broke rank from nationally-referenced renditions of history and memory. Under conditions in which some women saw history as a field of articulation that remained dominated by men, they put into practice their own de-centered versions of history-writing that continue to influence the historical landscape in contemporary Japan.

Challenges to the conventional study of history have been raised by the recent paradigm of globalization and by new intellectual transformations linked to postmodernism and postcolonialism. In this book the noted historian Arif Dirlik argues for a new approach to the practice of historical research. Moving beyond mere critique, he synthesizes traditional historical methods with new approaches that emphasize historical memory, indigenous writing, place based history, and the dual processes of integration and fragmentation in a globalized world.

This book explores the growing trend of intermediality in cinematic representations of the Holocaust. It turns to the in-betweens that characterise the cinematic experience to discover how the different elements involved in film and its viewing collaborate to produce Holocaust memory. Cinematic Intermedialities is a work of film-philosophy that places a number of different forms of screen media, such as films that reassemble archive footage, animations, apps and museum installations, in dialogue with the writing of Deleuze and Guattari, art critic-cum-philosopher Georges Didi-Huberman and film phenomenologies. The result is a careful and unique examination of how Holocaust memory can emerge from the relationship between different media, objects and bodies during the film experience. This work challenges the existing concentration on representation in writing about Holocaust films, turning instead to the materials of screen works and the spectatorial experience to highlight the powerful contribution of the cinematic to Holocaust memory.

Essays on medieval history inspired by, and engaging with, the work of Jacques Le Goff. The essays in this volume arise from the proceedings of a conference held in 1994 to celebrate the life and work of the eminent French medievalist Jacques Le Goff. Set within thematic sections -popular religion and heresy, the body, royalty andits mystique, intellectuals in medieval society, and others -many of the challenges raised by Le Goff are reassessed and reapproached. There is an explicit historiographical focus in a section on the reception and influence of Le Goff, with particular reference to the Annales school of history with which he is strongly identified; the volume also indicates the problems which animate current research in medieval studies, especially in certain areas of social and cultural history. MIRI RUBIN is Professor of History, Queen Mary, University of London. Contributors: ALEXANDER MURRAY, PETER BILLER, ANDRE VAUCHEZ, R.I. MOORE, OTTO GERHARD OEXLE,LESTER K. LITTLE, WALTER SIMONS, ADELINE RUCQUOI, ALAIN BOUREAU, JEAN DUBABIN, WILLIAM CHESTER JORDAN, PETER LINEHAN, MIRI RUBIN, GABOR KLANICZAY, AARON GUREVICH, ROBIN BRIGGS, STUART CLARK

In the first book-length study explicitly to connect the postcolonial trope of hybridity to Renaissance literature, Gary Schmidt examines how sixteenth- and seventeenth-century English authors, artists, explorers and statesmen exercised a concerted effort to frame questions of cultural and artistic heterogeneity. This book is unique in its exploration of how 'hybrid' literary genres emerge at particular historical moments as vehicles for negotiating other kinds of hybridity, including but not limited to cultural and political hybridity. In particular, Schmidt addresses three distinct manifestations of 'hybridity' in English literature and iconography during this period. The first category comprises literal hybrid creatures such as satyrs, centaurs, giants, and changelings; the second is cultural hybrids reflecting the mixed status of the nation; and the third is generic hybrids such as the Shakespearean 'problem play,' the volatile verse satires of Nashe, Hall and Marston, and the tragicomedies of Beaumont and Fletcher. In Renaissance Hybrids, Schmidt demonstrates 'postmodern' considerations not to be unique to our own critical milieu. Rather, they can fruitfully elucidate cultural and literary developments in the English Renaissance, forging a valuable link in the history of ideas and practices, and revealing a new dimension in the relation of early modern studies to the concerns of the present.

In 1543, Copernicus publicly defended geokinetic and heliocentric universe. This book examines why and how he became a Copernican and what his affirmation of heliocentrism means in the context of the Scientific Revolution. Close reading of Copernicus' texts and examination of his sociocultural context reveals his commitment to the Platonist program of True Astronomy, which is to discover the well-proportioned, harmonious universe, hidden beyond visible appearances, but accessible through mathematical reasoning. The principal goal of the work is to show that the hypothesis of Copernicus' Platonism brings unity and internal coherence to his project and provides historical background of his contributions to the Scientific Revolution.

Modern historiography embraces the notion that time is irreversible, implying that the past should be imagined as something 'absent' or 'distant.' Victims of historical injustice, however, in contrast, often claim that the past got 'stuck' in the present and that it retains a haunting presence. History, Memory, and State-Sponsored Violence is centered around the provocative thesis that the way one deals with historical injustice and the ethics of history is strongly dependent on the way one conceives of historical time; that the concept of time traditionally used by historians is structurally more compatible with the perpetrators' than the victims' point of view. Demonstrating that the claim of victims about the continuing presence of the past should be taken seriously, instead of being treated as merely metaphorical, Berber Bevernage argues that a genuine understanding of the 'irrevocable' past demands a radical break with modern historical discourse and the concept of time. By embedding a profound philosophical reflection on the themes of historical time and historical discourse in a concrete series of case studies, this project transcends the traditional divide between 'empirical' historiography on the one hand and the so called 'theoretical' approaches to history on the other. It also breaks with the conventional 'analytical' philosophy of history that has been dominant during the last decades, raising a series of long-neglected 'big questions' about the historical condition - questions about historical time, the unity of history, and the ontological status of present and past -programmatically pleading for a new historical ethics.

These essays can all be said, in one way or another, to be concerned with the 'Identity of Britain' in the modern period. In the first group, the author considers how British historians have themselves reflected and shaped the national understanding of the British past. He discusses the implications of such debates for the present. Have we reached the end of British history in the age of European integration? In the second group, attention is concentrated on beliefs and values, ranging from aspects of Edwardian religion to the problems posed for the churches by the rise of Nazism. This section also includes a discussion of religion and national identity in modern Britain. Another essay takes 1940 as its reference point for a searching enquiry into contemporary understandings of 'Christian Civilisation'. What kind of Christian country was Britain? The third group, reflecting the author's teaching experience in England, Scotland and Wales, approaches the puzzling problem of the nature of 'Britishness' from distinct angles.

Based on the author's long experience in academic life and the public realm, especially in foreign policy, this book argues that a single categoric classification of cities is inadequate, and that cities have had different and varied impacts and positions throughout the history of civilization. The author examines how the formation, transformation, destruction or reestablishment of many civilizational cities reveals a clearer picture of the cornerstones of the course of human history. These cities, which play a decisive and pivotal role in the direction of the flow of history as well as providing us with a compass to guide our efforts to understand and interpret this flow, are conceptualized by the author as civilizations' "pivot cities". This innovative book explores the role of great cities in political historical change, presenting an alternative view of these pivot cities from a culturalist perspective. Within this framework, the role played by pivot cities in the history of civilization may be considered under seven distinct headings: pioneering cities which founded civilizations; cities which were founded by civilizations; cities which were transplanted during the formation of civilizations; "ghost cities" which lost their importance through shifts in political power and civilizational transformation; "lost cities" which were destroyed by civilizations; cities on lines of geocultural/geoeconomic interaction; and cities which combine, transform or are transformed by different civilizations. The author's concept of pivot cities explores the interplay between vital cities and civilizations, which bears on the future of globalization at a time of instability, as projected continuing de-Westernization becomes a theme in studies of global history. This book provides highly productive discussions relevant to the literature on city-civilization relationships and the historicity of pivot cities. Its clear language, rich content, deep and original perspective, interdisciplinary approach and rich bibliography will ensure that it appeals to students and scholars in a variety of disciplines, including cultural studies, political science, comparative urban studies, anthropology, history and civilizational studies.

Photography, Truth and Reconciliation charts the connections between photography and a crucial issue in contemporary social history. The book examines the prevalence of photography in cultural responses to processes of truth and reconciliation, and argues that photographs are a valuable means through which stories can be retold and historiography can be rethought. Five compelling case studies from Argentina, Canada, Australia, South Africa and Cambodia underscore the special role that this medium has played in facilitating processes of recovery, and in reconstructing suppressed histories, even when a documentary record of the events does not exist. The diverse practices addressed in this book – including artistic, protest, institutional, archival, legal and personal photography – prompt a new consideration of photography’s links to presence, place, time, spectatorship and justice. Collectively, these practices attest to photography’s key role in transitional justice, and in shaping historical understanding internationally. Important reading for students taking photography, visual culture, history and media studies courses, Photography, Truth and Reconciliation explores key historical and theoretical themes, including photography and testimony, international discourses on human rights and justice, and problematic notions of public and collective memory. The introduction and conclusion of this book a43 freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com

Renaissance Europe witnessed a surge of interest in new scientific ideas and theories. Whilst the study of this 'Scientific Revolution' has dramatically shifted our appreciation of many facets of the early-modern world, remarkably little attention has been paid to its influence upon one key area; that of economics. Through an interrogation of the relationship between economic and scientific developments in early-modern Western Europe, this book demonstrates how a new economic epistemology appeared that was to have profound consequences both at the time, and for subsequent generations. Dr Maifreda argues that the new attention shown by astronomers, physicians, aristocrats, men of letters, travellers and merchants for the functioning of economic life and markets, laid the ground for a radically new discourse that envisioned 'economics' as an independent field of scientific knowledge. By researching the historical context surrounding this new field of knowledge, he identifies three key factors that contributed to the cultural construction of economics. Firstly, Italian Humanism and Renaissance, which promoted new subjects, methods and quantitative analysis. Secondly, European overseas expansion, which revealed the existence of economic cultures previously unknown to Europeans. Thirdly factor identified is the fifteenth- and sixteenth-century crisis of traditional epistemologies, which increasingly valued empirical scientific knowledge over long-held beliefs. Based on a wide range of published and archival sources, the book illuminates new economic sensibilities within a range of established and more novel scientific disciplines (including astronomy, physics, ethnography, geology, and chemistry/alchemy). By tracing these developments within the wider social and cultural fields of everyday commercial life, the study offers a fascinating insight into the relationship between economic knowledge and science during the early-modern period.

Whilst terms such as Lebensraum are commonly associated with National-Socialist ideology of the 1930s and 40s, ideas of racial living space were in fact generated in the previous decades by an international geographic community of explorers and academics. Focusing on one of the most influential figures within this group, Sven Hedin, this is the first study that systematically connects the geographic community to the intellectual history of the development of National-Socialist ideology and genocidal practices. The book demonstrates how colonial, racial and nationalistic policies were often spearheaded by explorers and geographers such as Hedin. In Germany, Britain, France, and Russia their positions as publicly recognized authors and reputable academics made them highly influential with politicians. Whilst this influence was to become most visible within Hitler's Germany, the debates were not by any means restricted to or even originated in, Germany. Germany was the home of some of the most prominent geographers, but this scientific community had a tradition of international debate and exchange with especially British, French and Russian geographic societies and institutions. Many issues that were later discussed and championed by National-Socialist ideology were aired and debated in this international setting - raising important questions about the international character and impact of National-Socialism. Tracing the intellectual history of the international geographic community and its relationship to National-Socialism, this study provides an assessment of Hedin's close involvement with the Nazi elite as a culmination of decades of political and scientific work. In so doing the book uncovers a long ignored or overlooked important connection between exploration, geographers, and genocide.

This book examines British collectors of so-called Persian art (a broad umbrella term then covering a large portion of Islamic art) in the late 19th century, including ceramics, metalwork, carpets, textiles and woodwork. Based on a foundational event, the very first exhibition of "Persian and Arab Art" held by a London Gentlemen's Club in 1885, this book follows one generation of men, retracing the subtle shades of difference among "amateurs," "connoisseurs," "experts" and "collectors," and exploring all the mechanisms of the construction of a collective fascination for the Orient. Isabelle Gadoin uncovers some of the first "scientific" analyses of Islamic objects and of the first private notebooks or exhibition catalogues, to provide an in-depth study of the way Westerners talked about Islamic objects and began to define what would become Islamic art history. All the while, Gadoin unravels the skein of Western prejudice, Romantic fancy, sincere admiration and ruthless appropriation, in art collecting, to write a new chapter of Orientalist history. The book will be of interest to scholars working in art history, history of collecting, colonialism and postcolonialism, and Orientalism.

This edited collection explores how graphic art and in particular Japanese manga represent Japanese history. The articles explore the representation of history in manga from disciplines that include such diverse fields as literary studies, politics, history, cultural studies, linguistics, narratology, and semiotics. Despite this diversity of approaches all academics from these respective fields of study agree that manga pose a peculiarly contemporary appeal that transcends the limitation imposed by traditional approaches to the study and teaching of history. The representation of history via manga in Japan has a long and controversial historiographical dimension. Thereby manga and by extension graphic art in Japanese culture has become one of the world's most powerful modes of expressing contemporary historical verisimilitude. The contributors to this volume elaborate how manga and by extension graphic art rewrites, reinvents and re-imagines the historicity and dialectic of bygone epochs in postwar and contemporary Japan. Manga and the Representation of Japanese History will be of interest to students and scholars of Asian studies, Asian history, Japanese culture and society, as well as art and visual culture

Please explain why you think about and write history as you do? Collecting together the responses to this question from 15 of the world's foremost historians and theorists, Authoring the Past represents a powerful reflection on and intervention in the historiographical field. Edited by Alun Munslow and presented in concise digestible essays, the collection covers a broad range of contemporary interests and ideas and offers a rich set of reasoned alternative thoughts on our cultural engagement with times gone by. Emerging from an intensely fertile period of historical thought and practice, Authoring the Past examines the variety of approaches to the discipline that have taken shape during this time and suggests possible future ways of thinking about and interacting with the past. It provides a unique insight into recent debates on the nature and purpose of history and demonstrates that when diverse metaphysical and aesthetic choices are made, the nature of the representation of the past becomes a matter of legitimate dispute. Students, scholars and practitioners of history will find it a stimulating and invaluable resource.

Please explain why you think about and write history as you do? Collecting together the responses to this question from 15 of the world's foremost historians and theorists, Authoring the Past represents a powerful reflection on and intervention in the historiographical field. Edited by Alun Munslow and presented in concise digestible essays, the collection covers a broad range of contemporary interests and ideas and offers a rich set of reasoned alternative thoughts on our cultural engagement with times gone by. Emerging from an intensely fertile period of historical thought and practice, Authoring the Past examines the variety of approaches to the discipline that have taken shape during this time and suggests possible future ways of thinking about and interacting with the past. It provides a unique insight into recent debates on the nature and purpose of history and demonstrates that when diverse metaphysical and aesthetic choices are made, the nature of the representation of the past becomes a matter of legitimate dispute. Students, scholars and practitioners of history will find it a stimulating and invaluable resource.

This book introduces a new perspective on Claudio Monteverdi's Orfeo (1607), a work widely regarded as the 'first great opera', by exploring the influence of the Mantuan Accademia deglia Invaghiti, the group which hosted the opera's performance, and to which the libretto author, Alessandro Striggio the Younger, belonged. Arguing that the Invaghiti played a key role in shaping the development of Orfeo, the author explores the philosophical underpinnings of the Invaghiti and Italian academies of the era. Drawing on new primary sources, he shows how the Invaghiti's ideas about literature, dramaturgy, music, gender, and aesthetics were engaged and contested in the creation and staging of Orfeo. Relevant to researchers of music history, performance, and Renaissance and Baroque Italy, this study sheds new light on Monteverdi's opera as an intellectual and philosophical work.

Shows the relationship of ethics and historiography over time and in different cultural settings, and so helps readers to appreciate the different ways in which historians have thought about how the world ought to be and helps readers to appreciate how the boundaries between ethical theories can be fuzzy. Written for those new to, or with little familiarity with historiography, so makes very complex questions easy to understand. Introduces readers to both well-known and lesser-appreciated historians and ethical theorists, ensuring they have a variety of case studies upon which to draw in their own work.

This is the story of one of the great literary rows of the nineteenth century, between one of its greatest historians and one of its sharpest critics. The quarrel began in the House of Commons during the debates of 1831-2 on parliamentary reform and was continued in the quarterly reviews. Even in a political setting, it had a historical dimension. Croker taunted Macaulay for being ignorant of the French Revolution. Macaulay replied by pouring scorn on Croker's accuracy as editor of Boswell's Johnson. The bitterness of the clash made subsequent compromise impossible. Sixteen years later, Croker wrote a long damning review of the first two volumes of Macaulay's History of England. Posterity admires success, and as Macaulay's writings have eclipsed Croker's it has usually been assumed that Croker was moved by mere political spite. In this highly readable study, William Thomas shows that this verdict is unfair, that Croker's political opinions were both less rancorous and more interesting, and that Macaulay's own scholarship was far from faultless. He also considers each man's historical writing alongside his politics and argues that, while Croker's critical method was sharpened by his politics, Macaulay's political opinions were much more independent of party, and that he is not the typical Whig historian of legend. William Thomas illustrates how the two men actually had many ideas in common, and the commentators who have seen only political dislike have missed the real purpose of the History of England and what made it the most successful historical work in English literature.

Green offers a remarkably lucid, erudite, and insightful description and analysis of the theoretical foundations of modern historical writing. He is the first to provide an orderly introduction to the several systematic models by which leading modern historians have attempted to explain continuity and change. This cogent survey is essential to an understanding of modern Western historiography. The book introduces history as a theoretical discipline. Green examines the many pitfalls of historical writing and demonstrates that historical "truth" is a most elusive quarry. He addresses periodization, the manner in which past time is divided, showing how prevailing modes of periodization have evolved in the West. Part two of the book is concerned with the dynamics of change in European history. Each chapter considers a specific theoretical orientation, including: the commercial model initiated by Adam Smith and pursued by Henri Pirenne and others, the demographic model first formulated by Malthus, the Marxian model (or models), and the approaches of Weber and Sombart who identified religious forces as the chief engines of historical change. Part three addresses models of change being employed in world history, particularly the world-system approach of Frank and Wallerstein and the creative orientations of environmental historians. In his conclusion, Green returns to the question of whether the theoretical models of change currently in use among historians are consistent with contemporary modes of periodization. The bibliography is extensive.

Imprisoned by History: Aspects of Historicized Life offers a controversial analysis, grounded both in philosophical argument and empirical evidence, of what history does in contemporary culture. It endorses and extends the argument that contemporary society is, in historical terms, already historicized, shaped by history - and thus history loses sight of the world, seeing it only as a reflection of its own self-image. By focusing on history as a way of thinking about the world, as a thought-style, this volume delivers a major, decisive, thought-provoking critique of a crucial aspect contemporary culture and the public sphere. By illustrating the ways in which history enforces socially coercive attitudes and forms of behaviour, Martin Davies argues that history is therefore in itself ideological and exists as an instrument of political power. Contending that this ideological function is the "normal" function of professional academic history, he repudiates entirely the conventional view that only biased or "bad" history is ideological. By finding history projecting onto the world and getting reflected back at it the exacting, history-focused thinking and behaviour on which the discipline and the subject rely, he concludes that history's very "normality" and "objectivity" are inherently compromised and that history works only in terms of its own self-interest.

Arguing for the importance of wit beyond its use as a literary device, Roger D. Lund outlines the process by which writers in Restoration and eighteenth-century England struggled to define an appropriate role for wit in the public sphere. He traces its unpredictable effects in works of philosophy, religious pamphlets, and legal writing and examines what happens when literary wit is deliberately used to undermine the judgment of individuals and to destabilize established institutions of church and state. Beginning with a discussion of wit's association with deception, Lund suggests that suspicion of wit and the imagination emerges in attacks on the Restoration stage, in the persecution of The Craftsman, and in criticism directed at Thomas Hobbes's Leviathan and works by writers like the Earl of Shaftesbury, Thomas Woolston, and Thomas Paine. Anxieties about wit, Lund shows, were in part responsible for attempts to suppress new communal venues such as coffee houses and clubs and for the Church's condemnation of the seditious pamphlets made possible by the lapse of the Licensing Act in 1695. Finally, the establishment's conviction that wit, ridicule, satire, and innuendo are subversive rhetorical forms is glaringly at play in attempts to use libel trials to translate the fear of wit as a metaphorical transgression of public decorum into an actual violation of the civil code.

Uroscopy - the diagnosis of disease by visual examination of the urine - played a very prominent role in early modern medical practice and in the lives of ordinary people. Widely considered as the most reliable way to diagnose diseases and pregnancies it was taught at the best universities. Leading physicians prided themselves on their mastery in this field. Countless medical writings were dedicated to uroscopy and artists represented it in hundreds of illustrations and paintings. Based on a wide range of textual and visual sources, such as autobiographies, court records, medical treatises and genre painting, this book offers the first comprehensive study of the place of uroscopy in early modern medicine, culture and society and of the - gradually changing - ways in which medical practitioners, lay persons and, last but not least, artists perceived and used it.