Counterfactual History

2021 ◽  
Author(s):  
lkka Lähteenmäki
2016 ◽  
Vol 10 (3) ◽  
pp. 413-432 ◽  
Author(s):  
Daniel Woolf

This essay provides an extended commentary on Richard Evans’ book Altered Pasts from the perspective of a historian of a much earlier period, the sixteenth and seventeenth centuries. The essay considers much of the literature discussed by Evans, explores the “scope” and “range” of counterfactual arguments, and offers suggestions as to how and when legitimate counterfactual historical thinking itself came into being. The essay also argues that the problems inherent in counterfactual history lie less in the logic of their arguments than in the use that is made of them: specifically that a device useful, heuristically, in evaluating the impact of certain factors (or their absence) on events has been stretched by some historians beyond the weight it will bear. In the final section, the relation between fictional and nonfictional counterfactuals is explored.


Author(s):  
Ceri Sullivan

Private prayer creates narrative lines about its beneficiaries. Collections of model prayers show kitchen maids how to empathize with war heroes, or gentlemen with pregnant women, or merchants with coalminers, imagining their beneficiaries’ problems in loving detail. Pray-ers refer to themselves as marginalized (sick, criminal, in chains), yet at the same time as provided with an almighty weapons system to change the world. Praying could be a form of ethical and pragmatic life coaching, a way to steel the self to unpalatable actions or perform a thought experiment in alternative outcomes—but it could also shut down radical possibilities. This chapter discusses how alternative plot lines developed by the king’s prayer in Shakespeare’s 2 Henry VI and 3 Henry VI create a counterfactual history, one opposed by the normative pray-ers in the factions around Henry.


2002 ◽  
Vol 92 ◽  
pp. 62-85 ◽  
Author(s):  
Ruth Morello

Orthodox historians have tended to dislike attempts to think counterfactually about the past, on the grounds that ‘virtual history’ offers little more than entertainment and degenerates too easily into banal trivialities. In addition, it provokes fears about the offending historian's commitment to the truth and the consequent effect on his readers’ historical memories; a recent essay in the New Statesman, deploring the increasing presence of counterfactual history in the syllabus for national exams in British schools, condemned it as an agent of ‘collective amnesia’. E. P. Thompson was more trenchant: ‘unhistorical shit’. Yet popular and professional interest in counterfactual history continues to grow, spawning a recent radio series and a number of books on the ‘what if?’ theme. It seems, then, an opportune time to reconsider the famous passage of counterfactual history in Livy's Ab Urbe Condita, the Alexander digression at 9.17–19, a passage which, it so happens, one popular website lists as the first example of the genre. This paper offers, after a brief survey of previous scholarship (Section II), an account of Livy's allusions both to his sources and predecessors and to his own text (Section III), followed by an integrated reading (Section IV) which will argue more fully that the passage embodies central Livian ideas about the utility of historical writing, that it is thematically tightly woven into its place in Book 9, and, finally, that it offers a powerful critique of one-man rule which has important consequences for our understanding of the historian's view of Augustus.


2017 ◽  
pp. 91-99
Author(s):  
Mariusz Guzek

Jindřich Polák’s film Tomorrow I’ll Wake Up and Scald Myself with Tea (Zítra vstanu a opařím se Cajeme) of 1977 is neither the first nor the last attempt to “detonate” an atomic bomb by the Czech filmmakers. However, this science fiction comedy uses the Wells’s concept of time travel to entertain a viewer with what the contemporary discourse calls the counterfactual history or simply considerations on “what if...”. The film was made in the peak period of normalization, thus all the historiosophical, ideological or political allusions are deeply hidden. Despite the futuristic context, diegesis is recognizable and contemporary at the same time, and thus full of ambiguous motivations of characters. The atomic bomb, therefore, is not merely a decorative artifact around which the main characters move.


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