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.

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.

The Armenian History attributed to Sebeos is one of the major works of early Armenian historiography. It traces the fortunes of Armenia in the sixth and seventh centuries within the broader context of the time, including the reign of Khosrov II (589-628) and the early Muslim expansion.

This is the first English translation of the modern critical edition of the Armenian text. The historical commentary compares Sebeos's account with other available sources and highlights the particular value of this Armenian witness to the momentous events of his time.

This book will appeal to all those interested in Armenia, the Caucasus, the Eastern Roman Empire, and the Middle East in late antiquity. It will be of particular value to Islamicists, since Sebeos not only sets the scene for the coming of Islam but also provides the only substantial non-Muslim account of the initial period of expansion. The notes are specifically aimed at the reader unfamiliar with Armenian; with the maps and appendices they will guide the nonspecialist through the complexities of Armenian society and the intricacies of family politics.

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

Portable phones are now miniature multi-media centers that can fit neatly in one's pocket, and media industries of all types are adapting content for these new platforms, or innovating entirely new forms. In the light of this explosive growth, this diverse collection of essays establishes conceptual, critical frameworks for evaluating the latest transformations of the media landscape. Some essays provide historical context, exploring older phenomena such as the CB radio, automobile radio, and hand-held video games, while others unpack the behind-the-scenes negotiations that determine what kinds of services are available to consumers of the latest technology. The Mobile Media Reader is a comprehensive road map, enabling both scholars and students to examine the social, cultural, and commercial implications of media that are available anywhere at any time.

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.

A Companion to Tacitus brings much needed clarity and accessibility to the notoriously difficult language and yet indispensable historical accounts of Tacitus. The companion provides both a broad introduction and showcases new theoretical approaches that enrich our understanding of this complex author. * Tacitus is one of the most important Roman historians of his time, as well as a great literary stylist, whose work is characterized by his philosophy of human nature * Encourages interdisciplinary discussion intended to engage scholars beyond Classics including philosophy, cultural studies, political science, and literature * Showcases new theoretical approaches that enrich our understanding of this complex author * Clarifies and explains the notoriously difficult language of Tacitus * Written and designed to prepare a new generation of scholars to examine for themselves the richness of Tacitean thought * Includes contributions from a broad range of established international scholars and rising stars in the field

This book traces the development of scientific conservation and technical art history. It takes as its starting point the final years of the nineteenth century, which saw the establishment of the first museum laboratory in Berlin, and ground-breaking international conferences on art history and conservation held in pre-World War I Germany. It follows the history of conservation and art history until the 1940s when, from the ruins of World War II, new institutions such as the Istituto Centrale del Restauro emerged, which would shape the post-war art and conservation world. The book will be of interest to scholars working in art history, conservation history, historiography, and history of science and humanities.

Science in the Forest, Science in the Past: Further Interdisciplinary Explorations comprises of papers from the second of two workshops involving a group of scholars united in the conviction that the great diversity of knowledge claims and practices for which we have evidence must be taken seriously in their own terms rather than by the yardstick of Western modernity. Bringing to bear social anthropology, history and philosophy of science, computer science, classics and sinology among other fields, they argue that the use of such dismissive labels as 'magic', 'superstition' and the 'irrational' masks rather than solves the problem and reject counsels of despair which assume or argue that radically alien beliefs are strictly unintelligible to outsiders and can be understood only from within the system in question. At the same time, they accept that how to proceed to a better understanding of the data in question poses a formidable challenge. Key problems identified in the inaugural workshop, whose proceedings were published in HAU: Journal of Ethnographic Theory (2019) and in HAU Books (2020), provided the basis for asking how obvious pitfalls might be avoided and a new or revised framework within which to pursue these problems proposed. The chapters in this book were originally published in Interdisciplinary Science Reviews.

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.

In the seventeenth century, local Jesuits and Franciscans imagined Quito as the \u201cnew Rome.\u201d It was the site of miracles and home of saintly inhabitants, the origin of crusades into the surrounding wilderness, and the purveyor of civilization to the entire region. By the early twentieth century, elites envisioned the city as the heart of a modern, advanced society—poised at the physical and metaphysical centers of the world. In this original cultural history, Ernesto Capello analyzes the formation of memory, myth, and modernity through the eyes of QuitoÆs diverse populations. By employing Mikhail BakhtinÆs concept of chronotopes, Capello views the configuration of time and space in narratives that defined QuitoÆs identity and its place in the world. He explores the proliferation of these imaginings in architecture, museums, monuments, tourism, art, urban planning, literature, religion, indigenous rights, and politics. To Capello, these tropes began to crystallize at the end of the nineteenth century, serving as a tool for distinct groups who laid claim to history for economic or political gain during the upheavals of modernism. As Capello reveals, QuitoÆs society and its stories mutually constituted each other. In the process of both destroying and renewing elements of the past, each chronotope fed and perpetuated itself. Modern Quito thus emerged at the crux of Hispanism and Liberalism, as an independent global society struggling to keep the memory of its colonial and indigenous roots alive.

Bringing to bear his expertise in the early modern emblem tradition, William E. Engel traces a series of self-reflective organizational schemes associated with baroque artifice in the work of Herman Melville and Edgar Allan Poe. While other scholars have remarked on the influence of seventeenth-century literature on Melville and Poe, this is the first book to explore how their close readings of early modern texts influenced their decisions about compositional practice, especially as it relates to public performance and the exigencies of publication. Engel's discussion of the narrative structure and emblematic aspects of Melville's Piazza Tales and Poe's "The Raven" serve as case studies that demonstrate the authors' debt to the past. Focusing principally on the overlapping rhetorical and iconic assumptions of the Art of Memory and its relation to chiasmus, Engel avoids engaging in a simple account of what these authors read and incorporated into their own writings. Instead, through an examination of their predisposition toward an earlier model of pattern recognition, he offers fresh insight into the writers' understandings of mourning and loss, their use of allegory, and what they gained from their use of pseudonyms.

Largely forgotten during the second half of the nineteenth century and throughout most of the twentieth century, Constance de Salm (Constance-Marie de Theis, Mme Pipelet de Leury, later Princess de Salm-Reifferscheid-Dyck,) finally attracted the attention of such scholars as Elizabeth Colwill, Genevieve Fraisse, Huguette Krief, and Christine Plante in the early twenty-first century. However, there has to date been no comprehensive study of her published works, her vast correspondence, and the importance of her cultural exchanges. In this book, Ellen McNiven Hine contributes to the recent upsurge of interest in the literature of this particularly turbulent period in French history. This book considers not only her literary aspirations and claim to fame but also such topics as her contribution to the scientific culture of the period, the extent of the political involvement of a "non-activist" woman, her challenge to what she saw as inequitable provisions in the Civil Code, her championing of women's progress in literature and the arts, and the role that networking and patronage played in her personal and professional life. Moreover, the study highlights the similarities and differences between her life, writing, and influence and those of other postrevolutionary women such as Mary Wollstonecraft, Germaine de Stael, Margaret Somerville, and Louise Colet. Constance de Salm uses a variety of genres to address issues of particular importance to women, such as equal access to educational opportunities, the cost to women's health of reproduction, and lack of economic resources for single and widowed women. She displays a surprising modernity in her awareness of the difficulty of resolving relationship, career, and motherhood problems that continue to plague women in the twenty-first century and points to a future in which women will have access to educational and employment opportunities.

Popularizing National Pasts is the first truly cross-national and comparative study of popular national histories, their representations, the meanings given to them and their uses, which expands outside the confines of Western Europe and the US. It draws a picture of popular histories which is European in the full sense of this term. One of its fortes is the inclusion of Eastern Europe. The cross-national angle of Popularizing National Pasts is apparent in the scope of its comparative project, as well as that of the longue dur e it covers. Apart from essays on Britain, France, and Germany, the collection includes studies of popular histories in Scandinavia, Eastern and Southern Europe, notably Romania, Bulgaria, Croatia, Armenia, Russia and the Ukraine, as well as considering the US and Argentina. Cross-national comparison is also a central concern of the thirteen case studies in the volume, which are, each, devoted to comparing between two, or more, national historical cultures. Thus temporality both continuities and breaks- in popular notions of the past, its interpretations and consumption, is examined in the long continuum. The volume makes available to English readers, probably for the first time, the cutting edge of Eastern European scholarship on popular histories, nationalism and culture.

Medieval Islamic society set great store by the transmission of history: to edify, argue legal points, explain present conditions, offer political and religious legitimacy, and entertain. Modern scholars, too, have had much to say about the usefulness of early Islamic history-writing, although this debate has traditionally focused overwhelmingly on the central Islamic lands.

This book looks instead at local and regional history-writing in Medieval Iberia. Drawing on numerous Arabic texts historical, geographical and biographical composed and transmitted in al-Andalus, North Africa and the Islamic east between the ninth and fourteenth centuries, Nicola Clarke offers a nuanced and detailed analysis of narratives about the eighth-century Muslim conquest of Iberia. Comparing how individual episodes, characters, and themes are treated in different texts, and how this treatment relates to intellectual debates, literary trends, and socio-political conditions at the time of writing, she shows how competing priorities shaped myriad variations on a single story and how the scholars and patrons of a corner of the Islamic world distant from Baghdad viewed their own history.

Offering a framework in which historians of Christian Iberia (and of Christian Europe more generally) can approach and make sense of culturally-significant texts from Muslim Iberia, this book will also be relevant to broader debates about the historiography of early Islam. As such, it will be of great interest to scholars of historiography, world history and Islamic studies.

The essays in this anthology represent, in the broadest sense, an interpretive perspective of inquiry that has flourished in oral history for the past 15 years. This perspective considers oral history interviews as subjective, socially constructed and emergent events; that is, understanding, interpretation, and meaning of lived experience are interactively constructed. The impetus for this volume was the editor's fascination with the multifaceted complexity of the oral history interview method coupled with the belief that, despite many books that address methodological issues, no single work takes as its focus those complex, interactive processes which constitute the oral history interview. The editors' purpose in developing this anthology, therefore, was to provide a variety of essays which taken together address the possibilities and constraints inherent in oral history interviewing.

The study of eighteenth century history has been transformed by the writings of John Brewer, and most recently, with The Sinews of Power, he challenged the central concepts of British history. Brewer argues that the power of the British state increased dramatically when it was forced to pay the costs of war in defence of her growing empire. In An Imperial State at War, edited by Lawrence Stone (himself no stranger to controversy), the leading historians of the eighteenth century put the Brewer thesis under the spotlight. Like the Sinews of Power itself, this is a major advance in the study of Britain's first empire.

The Presented Past is concerned with the differences between the comparatively static, well-understood way in which the past is presented in schools, museums and at historic sites compared to the approaches currently being explored in contemporary archaeology. It challenges the all-too-frequent representation of the past as something finished, understood and objective, rather than something that is `constructed' and therefore open to co-existing interpretations and constant re-interpretation. Central to the book is the belief that the presentation of the past in school curricula and in museum and site interpretations will benefit from a greater use of non-documentary sources derived from archaeological study and oral histories. The book suggests that a view of the past incorporating a larger body of evidence and a wider variety of understanding will help to invigorate the way history is taught. The Presented Past will be of interest to teachers, archaeologists, cultural resource managers, in fact anyone who is concerned with how the past is presented.

Pictures are often admired for their aesthetic merits but they are rarely treated as if they had as much to offer as the written word. They are often overlooked as objects of analysis themselves, and tend to be seen simply as adjuncts to the text. Images, however, are not passive, and have a direct impact that engages attention in ways independent of any specific text. Advertising, entertainment and propaganda have realised the extent of this power to shape ideas, but the scientific community has hitherto neglected the ways in which visual material conditions the ways in which we think. With subjects including prehistoric artworks, excavation illustrations, artists' impressions of ancient sites and peoples and contemporary landscapes, photographs and drawings, this study explores how pictures shape our perceptions and our expectations of the past. This volume is not concerned with the accuracy of pictures from the past or directly about the past itself, but is interested instead in why certain subjects are selected, why they are depicted the way they are, and what effects such images have on our idea of the past. This collection constitutes a ground-breaking study in historiography which radically reassesses the ways that history can be written.

Religious imaginary is a way of conceiving and structuring the world within the conceptual and imaginative traditions of the religious. Using religious imaginary as a reference, this book analyses temporal ideologies and expressions of historicity in South Asia in the early modern, pre-colonial and early colonial period. Chapters explore the multiple understandings of time and the past that informed the historical imagination in various kinds of literary representations, including historiographical and literary texts, hagiography, and religious canonical literature. The book addresses the contributing forces and comparative implications of the formation of religious and communitarian sensibilities as expressed through the imagination of the past, and suggests how these relate to each other within and across traditions in South Asia. By bringing diverse materials together, this book presents new commonalities and distinctions that inform a larger understanding of how religion and other cultural formations impinge on the concept of temporality, and the representation of it as history.

There have been serious debates between historians, novelists and filmmakers as to how best present historical narratives. When writers and filmmakers talk of using historical research with integrity, what exactly do they mean? Integrity and Historical Research examines this question in detail. The first chapter discusses the concept of integrity. The chapters that follow reflect on this philosophical treatment in the light of fiction and film that deals with history in a number of ways. How should writers and filmmakers use lives? Can, and may, people who are now dead and who may have lived long ago, be defamed?

The authors include academics, historians, social historians, medievalists, oral historians, literary theorists, historical novelists and script writers. They examine the theoretical influences and practical choices that involve and concern writers and filmmakers who rely on historical research. The desire to be accurate may often conflict with the need to produce a work that goes beyond the mere depiction of events in order to excite the interest of readers and to hold that interest. At the same time there is a developing emphasis on historians, to write well in clear, accessible prose, which may involve using the novelists techniques. How much license may be given to writers of fiction and filmmakers in their depiction of historical characters and events? This book begins to answer this question, while inviting further discussion.

When studying the origins of the First World War, scholars have relied heavily on the series of key diplomatic documents published by the governments of both the defeated and the victorious powers in the 1920s and 1930s. However, this volume shows that these volumes, rather than dealing objectively with the past, were used by the different governments to project an interpretation of the origins of the Great War that was more palatable to them and their country than the truth might have been. In revealing policies that influenced the publication of the documents, the relationships between the commissioning governments, their officials, and the historians involved, this collection serves as a warning that even seemingly objective sources have to be used with caution in historical research.

This edited collection attends to the locations of memory along and about the Indo-Pakistan and Indo-Bangladesh borders and the complex ways in which such memories are both allowed for and erased in the present. The collection is situated at the intersection of narratives connected to memory and commemoration in order to ask how memories have been formed and perpetuated across the imposition of these borders. It explores how national boundaries both silence memories and can be subverted in important ways, through consideration of physical sites and cultural practices on both sides of the India-Pakistan-Bangladesh borders that gesture towards that which has been lost - that is, the cultural whole that was the cultural regions of Punjab and Bengal before Partition, as well as broader cultural "wholes" across South Asia, across religious and linguistic lines - alongside forces that deny such connections. The chapters address issues of heritage and memory through specific case-studies on present-day memorial, museological and commemoration practices, through which sometimes competing memorial landscapes have been constructed, and show how memories of past traumas and histories become inscribed into diverse forms of cultural heritage (the built landscape, literature, film).

David Hume, the eighteenth century philosopher, famously declared that 'the crusades engrossed the attention of Europe and have ever since engaged the curiosity of man kind'. This is the first book length study of how succeeding generations from the First Crusade in 1099 to the present day have understood, refashioned, moulded and manipulated accounts of these medieval wars of religion to suit changing contemporary circumstances and interests. The crusades have attracted some of the leading historical writers, scholars and controversialists from John Foxe (of Book of Martyrs fame), to the philosophers G.W. Leibniz, Voltaire and David Hume, to historians such as William Robertson, Edward Gibbon and Leopold Ranke. Accessibly written, a history of histories and historians, the book will be of interest to students and researchers of crusading history from sixth form to postgraduate level and beyond and to cultural historians of the use of the past and of medievalism. -- .