Historiography

2015 ◽  
Author(s):  
Jesse Lander
Keyword(s):  
History Plays ◽  
History Writing ◽  
English History ◽  
Richard Iii ◽  
The Past ◽  
The Reformation ◽  
Revisionist History ◽  
History Of ◽  
Historical Accounts ◽  
The Way

During the Reformation, arguments over the near and distant past are crucial for making people increasingly aware of the plurality of competing, even contradictory, accounts of the past. This article examines the way in which historical accounts of Richard III’s reign point to the emergence of a historiographical consciousness, an awareness that written history is partial in both senses of the word. It considers the extent of John Foxe’s influence on English history writing and how he made revisionist history mainstream. It analyses chronicle history plays, especiallyThe True Tragedie of Richard III, as evidence that historiographical consciousness was widespread in the period. It also treats the connection between dissimulation and conspiracy in Thomas More’sHistoryand cites George Buck’sThe History of King Richard III(1619) as a remarkable example of revisionism that deploys historical learning against received opinion.

Sentimentality and high pathos: popular music in fascist Germany

Popular Music ◽  
1985 ◽  
Vol 5 ◽  
pp. 149-158 ◽  
Author(s):  
Peter Wicke
Keyword(s):  
Popular Music ◽  
Political Responsibility ◽  
Continuity And Change ◽  
The Past ◽  
History Of ◽  
The Subject ◽  
Historical Accounts ◽  
The Way

This article deals with one of the darkest chapters in the history of popular music: the way in which it was pressed into the service of the cynical and ultra-reactionary goals of German fascism between the years 1933 and 1945. The aim, however, is not simply to fill a gap in historical accounts, which hitherto have always ignored this period. The subject is far from being merely of historical interest: it concerns the mechanisms whereby popular music can be socially and politically misused – mechanisms to which it can more easily fall victim, the more professionally it is produced. It is a fatal error to assume, for example, that popular music serving reactionary interests unmasks itself self-evidently as such. Rather, at no time has the lack of political responsibility on the part of performing musicians and composers been so clear, and had such disastrous eventual consequences, as was the case in Germany between 1933 and 1945. And this is what makes the subject as topical today, forty years after the ending of fascist tyranny in Germany, as it was then. ‘Continuity and change’ requires that the bitter experience of the past be combined with the urgent call to learn lessons from it now, after so long. The next time could be the last time!

SEJARAH KONFLIK KEBANGKITAN ISLAM DI MINANGKABAU: Sebuah Tinjauan Awal Terhadap Proses Kemunculannya

2018 ◽  
pp. 33-48
Author(s):  
Ihsan Sanusi
Keyword(s):  
Human Life ◽  
Initial Period ◽  
Analysis Model ◽  
Islamic Revival ◽  
Religious Texts ◽  
Interactive Analysis ◽  
The Past ◽  
The Reformation ◽  
History Of ◽  
Correct Understanding

This article in principle wants to examine the history of the emergence of the conflict of Islamic revival in Minangkabau starting from the Paderi Movement to the Youth in Minangkabau. Especially in the initial period, namely the Padri movement, there was a tragedy of violence (radicalism) that accompanied it. This study becomes important, because after all the reformation of Islam began to be realized by reforming human life in the world. Both in terms of thought with the effort to restore the correct understanding of religion as it should, from the side of the practice of religion, namely by reforming deviant practices and adapted to the instructions of the religious texts (al-Qur'an and sunnah), and also from the side of strengthening power religion. In this case the research will be directed to the efforts of renewal by the Padri to the Youth towards the Islamic community in Minangkabau. To discuss this problem used historical research methods. Through this method, it is tested and analyzed critically the records and relics of the past. In analyzing the data in this research basically used approach or interactive analysis model by Miles and Huberman. In this analysis model, the three components of the analysis are data reduction, data presentation, and conclusion drawing or verification, the activity is carried out in an interactive form with the process of collecting data as a process that continues, repeats, and continues to form acycle.

Shakespeare Afoot

2018 ◽  
Author(s):  
John Kerrigan
Keyword(s):  
Early Modern ◽  
Richard Iii ◽  
Midsummer Night's Dream ◽  
As You Like It ◽  
A Midsummer Night's Dream ◽  
History Of ◽  
The Way

That Shakespeare adds a limp to the received characterization of Richard III is only the most conspicuous instance of his interest in how actors walked, ran, danced, and wandered. His attention to actors’ footwork, as an originating condition of performance, can be traced from Richard III through A Midsummer Night’s Dream and As You Like It into Macbeth, which is preoccupied with the topic and activity all the way to the protagonist’s melancholy conclusion that ‘Life’s but a walking shadow, a poor player | That struts and frets his hour upon the stage’. Drawing on classical and early modern accounts of how people walk and should walk, on ideas about time and prosody, and the experience of disability, this chapter cites episodes in the history of performance to show how actors, including Alleyn, Garrick, and Olivier, have worked with the opportunities to dramatize footwork that are provided by Shakespeare’s plays.

The Invention of Papal History

2019 ◽  
Author(s):  
Stefan Bauer
Keyword(s):  
Catholic Reformation ◽  
History Writing ◽  
Historical Texts ◽  
The Past ◽  
History Of ◽  
Cultural Standards ◽  
Commissioned Works ◽  
The One ◽  
Late Renaissance ◽  
The Church

How was the history of post-classical Rome and of the Church written in the Catholic Reformation? Historical texts composed in Rome at this time have been considered secondary to the city’s significance for the history of art. The Invention of Papal History corrects this distorting emphasis and shows how history-writing became part of a comprehensive formation of the image and self-perception of the papacy. By presenting and fully contextualizing the path-breaking works of the Augustinian historian Onofrio Panvinio (1530–68), this book shows what type of historical research was possible in the late Renaissance and the Catholic Reformation. Historiography in this period by no means consisted entirely of commissioned works written for patrons; rather, a creative interplay existed between, on the one hand, the endeavours of authors to explore the past and, on the other hand, the constraints of patronage and ideology placed on them. This book sheds new light on the changing priorities, mentalities, and cultural standards that flourished in the transition from the Renaissance to the Catholic Reformation.

(Re)storying Japanese Canadian Histories: Artistic Engagements

2021 ◽  
pp. 153270862098726
Author(s):  
Matthew Chin ◽  
Izumi Sakamoto ◽  
Jane Ku ◽  
Ai Yamamoto
Keyword(s):  
Identity Formation ◽  
Meaning Making ◽  
Art Making ◽  
History Writing ◽  
The Past ◽  
Common Structure ◽  
Academic History ◽  
Historical Accounts ◽  
Japanese Canadian ◽  
Cultural Identity Formation

This paper examines how Japanese Canadian (JC) artists challenge discursive limitations of constructing representations of JC pasts. Their interventions into JC history-making are significant given the rise of interest in and proliferation of JC historical accounts, partly as a result of the accelerated passing of the remaining survivors of JC incarceration within a broader context of unsettled and unsettling discourses around incarceration in JC families and communities. Contrary to narratives of JC history premised on the conventions of academic history writing, we explore how JC artists engage with the past through their creative practices. Focusing on JC artist Emma Nishimura’s exhibit, The weight of what cannot be remembered, we suggest that JC creative history-making practices have important implications for processes of ethno-racial and-cultural identity formation. In so doing, we decenter state-bound history-making processes that reproduce colonial frameworks of JC subjectivity, temporal linearity, and “objectivity.” Instead, we focus on the temporally circuitous way that Nishimura and other JC artists engage with the past through the idiom of personal intimacy in ways that facilitate a more expansive notion of JC identity and community. Though Nishimura’s work is indexical as opposed to representative of contemporary JC art-making, it is significant in tapping into a common structure of feeling among JC artists that emphasizes a notion of JC’ness rooted in the active struggle to establish a relationship with the past. In attending to Nishimura’s work, we highlight the productivity of art-making as a method of (re)storying to expand meaning-making endeavors within and across communities.

scholarly journals From the Social History of the Reformation (1960-1980) to the Reformation as Communication Process (1990-2000)

HISTOREIN ◽  
2013 ◽  
Vol 12 ◽  
pp. 79
Author(s):  
Costas Gaganakis
Keyword(s):  
Cultural History ◽  
Social History ◽  
Paradigm Shift ◽  
Communication Process ◽  
Protestant Reformation ◽  
The Social ◽  
The Reformation ◽  
History Of ◽  
The Way

<p>This article attempts to chart the “paradigm shift” from social history, dominant until the early 1980s, to new cultural history and the various interpretive trends it engendered in the 1990s and 2000s. The privileged field of investigation is the history of the Protestant Reformation, particularly in its urban aspect. The discussion starts with the publication of Bernd Moeller’s pivotal <em>Reichsstadt und Reformation </em>in the early 1960s – which paved the way for the triumphant invasion of social history in a field previously dominated by ecclesiastical or political historians, and profoundly imbued with doctrinal prerogatives – and culminates in the critical presentation of interpretive trends that appear to dominate in the 2010s, particularly the view and investigation of the Reformation as communication process.</p>

scholarly journals ‘A Likeness made From First Hand Witness’?: The Discursive Position of a Purported Crazy Horse Photograph

2021 ◽  
Author(s):  
◽  
Grace Campbell Russell
Keyword(s):  
Native Americans ◽  
Manifest Destiny ◽  
American Frontier ◽  
Cultural Object ◽  
The Past ◽  
History Of ◽  
The Way

<p>This dissertation is concerned with the ways in which photographs are discursively deployed and used in the writing of history. More specifically, it will consider how photos, and the historical, scientific, ethnographic and romantic discourses surrounding them, are used to erase or ‘make safe’ the traces of the radical resistances of dominated groups within colonial frameworks. The case explored here concerns the tintype photograph claimed as being of the Lakota chief and warrior Crazy Horse (c.1840-1877). Exhibited by the Custer Battlefield Museum in Montana, the claim that this photograph is of Crazy Horse is controversial. It is generally thought that no visual likeness of Crazy Horse exists; and his refusal to be photographed can be read as a practice of opposition to his assimilation into colonial narratives and accounts of American frontier history. In claiming the photo to be of Crazy Horse, the history of his resistance is rewritten and repositioned. This changes the way he becomes knowable and understandable within the contexts of (neo)colonial discourses and narratives, in which Native Americans are often relegated to the past, and appear either as casualties of the policies of Manifest Destiny, or as a romantic other which has been symbolically integrated into American mythic culture. This dissertation focuses on how the claim that this photograph is of Crazy Horse is made, and how the various associated cultural fields (photography, historiography, museology) are affected by, and play into, such a claim. This involves identifying the discursive processes and disciplinary mechanisms through which meaning is produced in relation to a particular cultural object. It considers the supposed photograph of Crazy Horse as an example of how history assigns significance to objects “in terms of the possibilities they generate for producing or transforming reality” (de Certeau, 1986:202), rather than as representations or reflections of reality.</p>

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

The Code of History

Beyond Reason ◽  
2021 ◽  
pp. 87-112
Author(s):  
Sanjay Seth
Keyword(s):  
Art Music ◽  
Modern History ◽  
Simple Application ◽  
History Writing ◽  
The Past ◽  
The Social ◽  
History Of Art ◽  
Core Elements ◽  
History Of ◽  
Meaning And Purpose

Showing that history writing is not the simple application of a method to sources bequeathed to us from the past, but rather a code that constructs “the past” in particular ways, this chapter explicates the elements of the code. Modern history treats past objects and texts as the objectified remains of humans who endowed their world with meaning and purpose, while constrained by the social circumstances characterizing their times; this time of theirs is dead, and it can only be represented, not resurrected; the past is only ever the human past, and it does not include ghosts, gods, spirits, or nature. In outlining these core elements of the code of history, it engages with those forms of history writing—the history of art, music, and science—that do not always share all the elements of the code, but for that very reason illuminate all the more clearly what the discipline presupposes.

Playing the Past: Approaches to English Historical Drama, 1385–1600. By Benjamin Griffin. Woodbridge, Suffolk: D. S. Brewer, 2001; pp. xiii + 193. $70 cloth.

2004 ◽  
Vol 45 (2) ◽  
pp. 307-309
Author(s):  
Paulette Marty
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
History Plays ◽  
Historical Drama ◽  
The Past ◽  
Dramatic Structure ◽  
Political Implications ◽  
History Of ◽  
The Subject ◽  
History Play

Benjamin Griffin takes an innovative approach to studying the history-play genre in early modern England. Rather than comparing history plays to their chronicle sources or interrogating their political implications, Griffin studies their relationships with other early modern English dramas, contextualizing them for “those who wish . . . to understand the history play by way of the history of plays” (xiii). He seeks to identify the genre's distinct characteristics by selecting a relatively broad spectrum of plays and examining their dramatic structure, their historical content, and their audiences' relationship to the subject matter.

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