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Meaning, Truth, and Reference in Historical Representation
In this book, the noted intellectual historian Frank Ankersmit provides a systematic account of the problems of reference, truth, and meaning in historical writing. He works from the conviction that the historicist account of historical writing, associated primarily with Leopold von Ranke and Wilhelm von Humboldt, is essentially correct but that its original idealist and romanticist idiom needs to be translated into more modern terms. Rehabilitating historicism for the contemporary philosophy of history, he argues, \"reveals the basic truths about the nature of the past itself, how we relate to it, and how we make sense of the past in historical writing.\"
At the heart of Ankersmit's project is a sharp distinction between interpretation and representation. The historical text, he holds, is first and foremost a representation of some part of the past, not an interpretation. The book's central chapters address the concept of historical representation from the perspectives of reference, truth, and meaning. Ankersmit then goes on to discuss the possible role of experience in the history writing, which leads directly to a consideration of subjectivity and ethics in the historian's practice. Ankersmit concludes with a chapter on political history, which he maintains is the \"basis and condition of all other variants of historical writing.\" Ankersmit's rehabilitation of historicism is a powerfully original and provocative contribution to the debate about the nature of historical writing.
eBook
Writing historical fiction : a writers' and artists' companion
\"With advice from leading international and bestselling writers, this book provides ... advice you need to write historical fiction\"-- Provided by publisher.
Book
Night train to Odessa : covering the human cost of Russia's war
When Russian tanks rolled into Ukraine, millions of lives changed in an instant. Millions of people were suddenly on the move. In this great flow of people was a reporter from the north of Scotland. Jen Stout left Moscow abruptly, ending up on a border post in southeast Romania, from where she began to cover the human cost of Russian aggression. Her first-hand, vivid reporting brought the war home to readers in Scotland as she reported from front lines and cities across Ukraine. Stories from the night trains, birthday parties, military hospitals and bunkers: stories from the ground, from a writer with a deep sense of empathy, always seeking to understand the bigger picture, the big questions of identity, history, hopes and fears in this war in Europe.
BOOK
Historians across borders
In this stimulating and highly original study of the writing of American history, twenty-four scholars from eleven European countries explore the impact of writing history from abroad. Six distinguished scholars from around the world add their commentaries. Arguing that historical writing is conditioned, crucially, by the place from which it is written, this volume identifies the formative impact of a wide variety of institutional and cultural factors that are commonly overlooked. Examining how American history is written from Europe, the contributors shed light on how history is written in the United States and, indeed, on the way history is written anywhere. The innovative perspectives included in Historians across Borders are designed to reinvigorate American historiography as the rise of global and transnational history is creating a critical need to understand the impact of place on the writing and teaching of history. This book is designed for students in historiography, global and transnational history, and related courses in the United States and abroad, for US historians, and for anyone interested in how historians work.
eBook
Résonances historiques et politiques dans L’Année de Bacchus d’El Mostafa Bouignane: vers une écriture de la résilience
L’Année de Bacchus is a novel with historical and political resonances. It’s a retelling of the story of the theft of the statue of Bacchus from the Volubilis archaeological site in Meknes. The author examines a period of Moroccan history to question forms of authoritarianism and violence. He uses alternating historical facts and existential situations to re-examine an aspect of the years of terror. Totalitarianism and the devastation of the individual mark this “trau- matic” era. In this respect, the human body is the receptacle of this historical and political violence. In particular, tyranny and brutality leave indelible marks on the body, which is “the parchment-min of history”. The characters are mainly traumatized by the violent side of his- tory. On the other hand, the author transforms this historical and political violence, i.e. resent- ment, into a form of resilience. Writing, or rather rewriting history, can thus be seen as an attempt at reconciliation and forgiveness. For the narrator, love and writing foster forgiveness. L’Année de Bacchus belongs to the category of engaged novels: the author seeks to denounce the ills of his society, while sometimes taking a stand. The aim is to sublimate resentment through the power of art and literature. Bouignane’s writing is characterized by simplicity, with the aim of imbuing the story with a certain historical and truthful content. This uncluttered style is more or less inspired by impressionism, which arouses the reader’s emotions, while at the same time bringing novelistic writing closer to historical writing.
Journal Article
Genius loci: Vernon Lee e la via amatoriale alla scrittura della storia
A central figure in the Anglo-florentine community at the turn of the 20th century, Vernon Lee (1856-1935) was a major contributor to the debates on aesthetics, history and literature in the transition from Victorian culture to modernism. This essay highlights a hitherto neglected feature of her intellectual profile: her criticism of academic history, which was consequent to her adoption of the intellectual persona of the “amateur” or, as we would say today, the independent scholar. Lee expressed this criticism most cogently in her writings on the genius loci –the spirit of places– which comprise several collections of historically-informed travelogues. In fact, Lee’s writings on the genius loci should not be seen simply as travel writing, as they have been so far. They are also a peculiar form of history writing – a way of knowing and reviving the past that was consciously different from, and alternative to, the professionalized way adopted by museums and academic institutions. A complex and multifaceted intellectual –a cosmopolitan searching for roots, an authoritative “dilettante”, as she is defined in this essay– Lee should be recognized as one of the formidable women who deployed the resources of the amateur tradition to effect a profound renewal of historical writing between the late 19th and the early 20th century.
Journal Article
Quem tem medo de síntese? Ensaio sobre a escrita de um gênero histórico proscrito
As a genre of historical writing, synthesis has received successive vetoes since the end of World War II. Here, the decline of the synthesis is supported on two hypotheses: from the theoretical-institutional point of view, the expansion of social history led to the adoption and dissemination of monographic studies; from the 1960s onwards, the emergence of poststructuralism and its successor, historiographical postmodernism. After a topical approach to the theoretical foundations of the synthesis in some unavoidable references, viability of the synthesis both as an essential tool in the history workshop and as a strategic historiographical genre in communicating with broader audiences is sustained under the light of public history.
Como gênero de escrita histórica, a síntese tem recebido sucessivos vetos e interdições desde o final da II Guerra Mundial. Aqui, sustenta-se o declínio da síntese em duas hipóteses: do ponto de vista teórico-institucional, a expansão da história social levou à adoção e proliferação de estudos de recorte monográfico; a partir dos anos 1960, o florescimento do pós-estruturalismo e seu sucedâneo, o pós-modernismo historiográfico. Após uma abordagem tópica dos fundamentos teóricos da síntese em algumas referências incontornáveis, argumenta-se em prol da viabilidade da síntese tanto como ferramenta imprescindível na oficina da história, como gênero historiográfico estratégico na comunicação com públicos ampliados, à luz da história pública.
Como género de escritura histórica, la síntesis ha recibido sucesivos vetos desde el final de la Segunda Guerra Mundial. Aquí, la decadencia de la síntesis se sustenta en dos hipótesis: desde el punto de vista teórico-institucional, la expansión de la historia social llevó a la adopción y difusión de estudios monográficos a partir de la década de 1960, con el surgimiento del posestructuralismo y su sucesor, el posmodernismo historiográfico. Luego de un acercamiento tópico a los fundamentos teóricos de la síntesis en algunas referencias ineludibles, se sustenta a la luz de la historia pública la viabilidad de la síntesis como herramienta imprescindible en el taller de historia y como género historiográfico estratégico en la comunicación con audiencias más amplias.
Journal Article