Modern Historiography is the essential introduction to the history of historical writing. It explains the broad philosophical background to the different historians and historical schools of the modern era, from James Boswell and Thomas Carlyle through to Lucien Febure and Eric Hobsbawm and surveys: the Enlightenment and Counter Enlightenment Romanticism the voice of Science and the process of secularization within Western intellectual thought the influence of, and broadening contact with, the New World the Annales school in France Postmodernism. Modern Historiography provides a clear and concise account of this modern period of historical writing.
The Companion to Historiography is an original analysis of the moods and trends in historical writing throughout its phases of development and explores the assumptions and procedures that have formed the creation of historical perspectives. Contributed by a distinguished panel of academics, each essay conveys in direct, jargon-free language a genuinely international, wide-angled view of the ideas, traditions and institutions that lie behind the contemporary urgency of world history.
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What came before 'postmodernism' in historical studies? By thinking through the assumptions, methods and cast of mind of English historians writing between about 1870 and 1970, this book reveals the intellectual world of the modernists and offers a full analysis of English historiography in this crucial period. Modernist historiography set itself the objective of going beyond the colourful narratives of 'whigs' and 'popularizers' in order to establish history as the queen of the humanities and as a rival to the sciences as a vehicle of knowledge. Professor Bentley does not follow those who deride modernism as 'positivist' or 'empiricist' but instead shows how it set in train brilliant new styles of investigation that transformed how historians understood the English past. But he shows how these strengths were eventually outweighed by inherent confusions and misapprehensions that threatened to kill the very subject that the modernists had intended to sustain.
Simon Mills had never actually planned to become a scientist. But he hadn't managed to avoid the eventuality either. As with most things in his life, Simon's drift into academia just sort of happened, the result of a series of coincidences and twists of fate over which he seemed to exert minimal control, regardless of whatever alternative path he might have preferred. So, instead of spending his early twenties enjoying a slow, predictable existence in the English countryside of his youth, Simon finds himself first as a reluctant post-graduate student in London, working for a quintessentially eccentric professor, and then and much to his chagrin - propelled across the Atlantic to the USA, to pursue some harebrained experiment or other. All in the name of science. Simon lurches from one unsolicited career opportunity to another, finally getting himself caught up in an academic political battle going on half a world, and a whole scientific dimension, away from his own. Not that distance or relevant experience appear to be factors when it comes to Simon Mills vocation. It seems fortune just wont leave him alone.
How culture evolves through algorithms rather than knowledge inherited from ancestors. From our hunter-gatherer days, we humans evolved to be excellent throwers, chewers, and long-distance runners. We are highly social, crave Paleolithic snacks, and display some gendered difference resulting from mate selection. But we now find ourselves binge-viewing, texting while driving, and playing Minecraft. Only the collective acceleration of cultural and technological evolution explains this development. The evolutionary psychology of individuals—the drive for “food and sex”—explains some of our current habits, but our evolutionary success, Alex Bentley and Mike O'Brien explain, lies in our a...
Aficionados of music, dance, opera, and musical theater will relish this volume featuring over 200 articles showcasing composers, singers, musicians, dancers, and choreographers across eras and styles. Read about Hildegard of Bingen, whose Symphonia expressed both spiritual and physical desire for the Virgin Mary, and George Frideric Handel, who not only created roles for castrati but was behind the Venetian opera's preoccupations with gender ambiguity. Discover Alban Berg’s Lulu, opera’s first openly lesbian character. And don’t forget Kiss Me Kate, the hit 1948 Broadway musical: written by Cole Porter, married though openly gay; directed by John C. Wilson, Noël Coward's ex-lover; and featuring Harold Lang, who had affairs with Leonard Bernstein and Gore Vidal. No single volume has ever achieved the breadth of this scholarly yet eminently readable compendium. It includes overviews of genres as well as fascinating biographical entries on hundreds of figures such as Peter Tchaikovsky, Maurice Ravel, Sergei Diaghilev, Bessie Smith, Aaron Copland, Stephen Sondheim, Alvin Ailey, Rufus Wainwright, and Ani DiFranco.