The ABC of Historical Criticism

Vol. 5 ◽  
1987 ◽  
pp. 205-220
Keyword(s):  
Historical Criticism

SENTRALISASI ISLAM MARJINAL

2017 ◽  
pp. 83-112
Author(s):  
Lukmanul Hakim
Keyword(s):  
Primary Sources ◽  
Historical Criticism ◽  
Islamic History ◽  
Ibn Khaldun ◽  
Historical Method ◽  
The Third ◽  
Work First

This paper aims to analyze the thoughts of Hamka in Malay Islamic Nysties Historiography. The method used is historical method, especially historiography approach. Characteristic of Hamka's work; First, writing techniques; Not using footnotes, style of language; Simple, alive, and communicative. The sources used by Hamka can be grouped into three groups; Primary sources, historical books composed by Muslim authors themselves; Second, the second source of material is the Dutch and British writers' writings on Indonesia and the Malay Land; Third, the third source of material materials that allegedly most of the writers of Islamic history in Indonesia did not get it. While from the Method of Historical Criticism, according to Hamka there are two ways to write history among Muslims; First collecting all the facts wherever it comes from, no matter whether the facts make sense or not, what needs to be taken care of is where this history is received. Second, judging the facts and giving their own opinions, after the facts were collected, this is the system used by Ibn Khaldun.

The Criminal Emperors of Ancient Rome and Wilde’s ‘true historical sense’

2017 ◽  
Author(s):  
Shushma Malik
Keyword(s):  
Ancient Rome ◽  
Historical Criticism ◽  
The Past ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
Definition Of

This chapter explores how Wilde uses ‘historic sense’ (the intuition of a learned historian and the antecedent of historical criticism) as a tool with which to analyse the past, particularly the criminal emperors of ancient Rome. In his essay ‘Pen, Pencil, and Poison’, Wilde claims that ‘true historical sense’ in relation to the past allows us to ignore the crimes of Nero and Tiberius, and instead to recognize and appreciate them as artists. His decadent reading of the past is undermined, however, when we compare this version of historically guided intuition with his definition of the phrase in other works. By examining ‘Pen, Pencil, and Poison’ alongside The Picture of Dorian Gray and ‘Epistola: In Carcere et Vinculis’, we can see how Wilde manipulates his readings of the criminal emperors of Rome in order to fit his own changing relationship with Decadence and the (im)morality of crime.

Neoliberal Feminist Scholarship in Biblical Studies

2020 ◽  
pp. 157-179
Author(s):  
Esther Fuchs
Keyword(s):  
Literary Criticism ◽  
Women's Studies ◽  
Critical Analysis ◽  
Biblical Theology ◽  
Biblical Studies ◽  
Historical Overview ◽  
Feminist Scholarship ◽  
Historical Criticism ◽  
Women’S Studies ◽  
Relative Utility

This essay provides a critical analysis of the neoliberal grounding of feminist biblical studies. I outline the main problems generated by this framework, notably fragmentation, repetition, the absence of theory, the limiting emphasis on method, and above all the validation of traditional (male-dominant) scholarly norms and practices. Seeking greater inclusion within biblical studies, neoliberal feminism has endorsed the normalizing approach to patriarchy and rejected its radical interrogation in women’s studies. My thumbnail historical overview of the field links disconnected publications in biblical theology, historical criticism, and literary criticism. The analysis shows that these possibilities advocate the relative utility of re-objectifying women with five hermeneutical strategies. They are: first, the depatriarchalizing strategy, exemplified in Phyllis Trible’s work; second, the historicizing strategy as employed most prominently by Carol Meyers; third, the textualizing strategy exemplified by Ilana Pardes; fourth, the mythologizing strategy employed by Susan Ackerman; and fifth, the idealizing strategy exemplified by Frymer-Kensky. By placing my critical analysis within the broader context of transformational feminist critiques published at the same time, I argue for a shift from the “biblical” to the “feminist” in feminist biblical studies.

New Historicism, Historical Criticism, and Reading the Pentateuch

2014 ◽  
Vol 8 (3) ◽  
pp. 71-80
Author(s):  
Angela Roskop Erisman
Keyword(s):  
New Historicism ◽  
Historical Criticism

scholarly journals xxx.—On the Agrarian Laws of Lycurgus, and one of Mr Grote's Canons of Historical Criticism

1864 ◽  
Vol 23 (3) ◽  
pp. 425-432
Author(s):  
Blackie
Keyword(s):  
Traditional Authority ◽  
Historical Criticism ◽  
The Past ◽  
History Of ◽  
Of Greece

The History of Greece, by Mr Grote, perhaps the most notable production of modern English scholarship, is characterised, amongst many great virtues, by what has always appeared to me, in a historian, a great fault—a tendency to undervalue traditional authority, and to over-rate the importance of conjectural ingenuity, in the reconstruction of the past. One of the most remarkable instances of this tendency which has fallen specially under my view, is his treatment of Lycurgus and his legislation, as it occurs near the end of his second volume. The fallacies which seem to me to lie in this treatment, it is the object of this paper shortly to set forth.

What is a Classic in History?

2021 ◽  
pp. 1-38
Author(s):  
Jaume Aurell
Keyword(s):  
Literary Texts ◽  
Historical Writing ◽  
Historical Criticism ◽  
Historical Texts ◽  
The Past ◽  
Science And Art ◽  
Historical Text ◽  
Historical Condition ◽  
Historical Writings ◽  
Narrative Language

Abstract What is the classic in history? What is a classic in historical writing? Very few historians and critics have addressed these questions, and when they have done so, it has been only in a cursory manner. These are queries that require some explanation regarding historical texts because of their peculiar ambivalence between science and art, content and form, sources and imagination, scientific and narrative language. Based on some examples of the Western historiographical tradition, I discuss in this article to what extent historians should engage the concept of the classic – as has been done for literary texts. If one assumes that the historical text is not only a referential account but also a narrative analogous to literary texts, then the concept of the classic becomes one of the keys for understanding the historical text – and may improve our understanding not only of historiography, but of history itself. I will argue in this article that it is possible to identify a category of the classic text in some historical writings, precisely because of the literarity they possess without losing their specific historical condition. Because of their narrative condition, historical texts share some of the features assigned to literary texts – that is, endurance, timelessness, universal meaningfulness, resistance to historical criticism, susceptibility to multiple interpretations, and ability to function as models. Yet, since historical texts do not construct imaginary worlds but reflect external realities, they also have to achieve some specific features according to this referential content – that is, surplus of meaning, historical use of metaphors, effect of contemporaneity without damaging the pastness of the past, and a certain appropriation of literariness. Without seeking to be normative or systematic, this article focuses on some specific features of the historical classic, offering a series of reflections to open rather than try to close a debate on this complex topic.

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