Explore the vast range of titles available.

The major essays of Dan Diner, who is widely read and quoted in Germany and Israel, are finally collected in an English edition. They reflect the author’s belief that the Holocaust transcends traditional patterns of historical understanding and requires an epistemologically distinct approach. One can no longer assume that actors as well as historians are operating in the same conceptual universe, sharing the same criteria of rational discourse. This is particularly true of victims and perpetrators, whose memories shape the distortions of historical narrative in ways often diametrically opposed. The essays are divided into three groups. The first group talks about anti-Semitism in the context of the 1930s and the ideologies that drove the Nazi regime. The second group concentrates on the almost unbelievably different perceptions of the \"Final Solution,\" with particularly illuminating discussions of the Judenrat, or Jewish council. The third group considers the Holocaust as the subject of narrative and historical memory. Diner focuses above all on perspectives: the very notions of rationality and irrationality are seen to be changeable, depending on who is applying them. And because neither rational nor irrational motives can be universally assigned to participants in the Holocaust, Diner proposes, from the perspective of the victims, the idea of the counterrational. His work is directed toward developing a theory of Holocaust historiography and offers, clearly and coherently, the highest level of reflection on these problems.

This study investigates alternative approaches for demonstrating historical understanding in elementary school history education, motivated by challenges to educational institutions posed by increased ChatGPT-related plagiarism. Focused on secondary education, an area with scant research, this study, through sociocultural and linguistic methods of analysis, contrasted human-generated historical narratives with those produced by ChatGPT. It was found that ChatGPT’s narratives, while stylistically superior, lacked emotional depth, highlighting a key differentiation from human storytelling. However, despite this differentiation, ChatGPT otherwise effectively mimicked typical discourse patterns of historical storytelling, suggesting that narrative-based writing assignments do not significantly reduce the likelihood of ChatGPT-assisted plagiarism. The study concludes by suggesting that rather than focusing on mitigating plagiarism, educational approaches to ChatGPT should seek to channel its potential for historical narratives into assistance with task design, delivery of content, and coaching student writing.

This article discusses the meanings of “creativity”— tvorchestvo —as we encounter it in Georges Florovsky’s thought, first and foremost in his magnum opus Ways of Russian Theology (1937). Tvorchestvo had by this time become a key concept in Russian pre-revolutionary and later émigré thought. It is associated above all with Nikolai Berdyaev’s philosophy, but it also plays an important role in Sergei Bulgakov’s philosophy of economy. In both cases, it stands for the human response to divine creation. Moreover, and somewhat less famously, it was also an epistemological concept in the religious idealism of Vladimir Solovyov as well as in Russian neo-Kantianism (Fyodor Stepun), where it stood for the active, synthetic faculty of our minds. Florovsky, meanwhile, used it as a description of how we should relate to the patristic heritage, but also to history more generally: Our attitude should be “creative,” active, as well as both backward- and forward-looking. This “return to the Fathers” was a central component of Florovsky’s neopatristic program, but, interestingly, in order to conceptualize this return, Florovsky took over a concept from traditions that his own approach otherwise firmly criticized. By analyzing Florovsky’s use of tvorchestvo , this article addresses the broader question as to the differences and parallels between the neopatristic movement and the legacy of the Russian Renaissance (Silver Age).

En este artículo pretendo probar que en el pensamiento de Francisco Antonio Encina existe una reflexión sobre la comprensión. Esa reflexión, a diferencia de lo que han sostenido algunos autores, tiene un talante filosófico, en el sentido de que en ella se exponen pertinentemente los polos entre los que se realiza la comprensión, los extremos hacia los que puede inclinarse la actividad comprensiva y las condiciones básicas que ha de reunir una comprensión de los asuntos humanos calificable como pertinente, adecuada o correcta.

This article discusses the theoretical problems pertaining to the relationship between historical contextualization and historical understanding and interpretation. On the one hand, there is the view that documents need to be understood in relation to their historical context; on the other, it is not clear how a historian can get out of his or her own historical context in order to be able to engage with the conceptual frameworks, beliefs, or ways of reasoning that are radically different from his or her own. The paper proposes a resolution to this dilemma; its upshot is that historical understanding is constituted by contextualization.

This study reports the findings of an investigation into young South Africans' knowledge and understanding of their national past derived from narrative accounts of South African history written by 27 university students who had recently completed the national school history curriculum. Analysis of these narratives indicates two fundamental differences in the way the history of South Africa is told, in terms of emphasis (the relative weight assigned to different periods and people) and of agency (who 'did' and who was 'done to'). These differences point to the continued importance of racial identity as a factor in the formation of a national historical consciousness in post-apartheid South Africa. The highly selective emplotment of South Africa's past by the students highlights the importance of sociocultural factors in the development of young people's historical consciousness, a conclusion that has implications for classroom pedagogy. These findings suggest that unless the historical understanding with which students come to the classroom is engaged and is complicated through evidence-based historical enquiry then neither the 'disciplinary' nor 'social justice' aims of the intended curriculum will be realized.

Interest in this article revolves around Lin-Manuel Miranda’s musical biography of Alexander Hamilton as both an occasion of contemporary commercial theatre and a cultural phenomenon which foregrounds issues of historical understanding but also constitutes an unconventional record of the crisis of historicity that defines its own moment. The study focuses on the distinctive mode in which the play co-opts rap and hip hop music for the purposes of a large-scale Broadway production and examines the ways in which African American music is thus employed in a work that ultimately betrays its historical specificity. Furthermore, the article interrogates the terms in which Hamilton invites spectators to engage anew with questions regarding who, on what grounds and to whose benefit may be granted the right to “rap” the nation’s story.

This paper reports on a study that invited 187 16–18-year-old students in the United States to draw diagrams showing connections between their own lives and the past. Interviews were subsequently held with 26 study participants. The degree to which students made connections between their own lives and the past, and the various ways in which they integrated personal and historical narratives, are discussed, with three examples explored in detail. The ways in which interviewed students talked about their diagrams point to the significance of individuals' understandings of the nature of historical knowledge for how they use the past to orient their own lives.

As an engaging learning strategy, digital storytelling provides students opportunities for developing competencies as they immerse themselves in a meaningful learning experience. The study presented in this article explored the potential of digital storytelling as an instrument for the promotion of historical understanding. Thirty first-year teacher education students, who were divided into eight groups, participated in a digital storytelling project that required them to produce their own digital stories. The project was designed as an 8-week activity, which consisted of activities that guided them throughout the pre-production, production, and post-production phases. After the final week of the project, the students participated in focus group discussions. Aside from the focus group responses, data were also obtained from their reflection journal entries and digital stories. The qualitative data were subjected to thematic network analysis, surfacing six organising themes, namely historical significance, historical imagination, perspective taking, continuity, historical emphasis, and values and traits identification. These findings suggest specific courses of action for integrating technology in a history classroom.

Teaching history with museums is hampered by a lack of transparency or \"footnotes.\" This article discusses a rationale for opening up K-12 students' understanding of the process in which history museums construct the past and advocates for a new conceptual model akin to traditional book footnotes, explored through a case study of footnotes imbedded in a history museum exhibition in Connecticut intended to help K-12 students better understand the past as presented at museums.