In White’s view, beyond the surface level of the historical text, there is a deep structural, or latent, content that is generally poetic and Metahistory: The Historical Imagination in Nineteenth-Century Europe. Front Cover · Hayden White . Since its initial publication in , Hayden White’s Metahistory has remained an essential book for understanding the nature of historical. Title, Metahistory: the historical imagination in nineteenth-century Europe / Hayden White. Author, White, Hayden V., Extent, dpi TIFF G4 page images.
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Metahistory: the historical imagination in nineteenth-century Europe
Jan 26, Timothy added it Shelves: JHU Press- History – pages. White’s broad purpose in Metahistory is to trace how the nineteenth-century historians escaped from the Irony that dominated Enlightenment historiography and from the ‘irresponsible faith’ of the Romantics, only to lapse back into Irony at the end of the century. Nineteentg-century some parts are really hard euroope read, other parts are quite fun and I love White’s ironical and sometimes almost taunting writing.
It effectively becomes shorthand for very complicated ideas so that the reader can follow White has h Metahistory: He explicates the styles of such historians as Michelet, Ranke, Tocueville, and Borchardt and of such philosophers of history as Hegel, Hajden, Nietzsche, and Croce. His main argument that historiography has thus far only been literary representations of past events that just like other literature can be categorized can only be regarded as close to the imwgination yet, the consequences of this are still open and this book is thus a good read for present historians to overthink their perspectives, methodological uses and start to move closer to the natural sciences in both its ambition, scientific writing, and methodological jmagination.
So, with it, “philosophy of history finally, belatedly, underwent its linguistic turn and became part of the contemporary intellectual scene. Selected pages Title Page. The name of a part is substituted for the name of a whole. These are the two preliminary steps before processing the material into a plot which is argumented as to express an ideology. If you originally registered with a username please use that to sign in.
On one hand, White was keen to stress that the task of a new form of history was to liberate; but on the other the theory of tropes and emplotments that White constructed seemed to be putting structuralist bars around these potentially liberating accounts.
Although his focus on trope and narrative is far from what most historians are interested in, they are all aware of his work. Antoni argued there was no ni thing as timeless thr ideal types, and ahistorical approaches to history are doomed to fail. Provides the meaning of the story by identifying the kind of story that it is.
But despite some extremely strong statements in support of the kind of theories of languages that Foucault was putting forward, White never quite let go of the humanism that was the hallmark of much of his imaginattion Metahistory work.
The story is explained by construction of a nomological-deductive argument. It’s an interesting theory but it’s often hard to understand exactly what he means by them and how their normal meaning as rhetorical features precisely relates to White’s understanding of them as attitudes towards the past. Johns Hopkins University Press.
Danto The Uses of History. His main argument that historiography has thus far only been literary representations of past events that just like other literature can be categorized can only be regarded as close to the truth; yet, the consequences While some parts are really hard to read, other parts are quite fun and I love White’s ironical and sometimes almost taunting writing.
See change as fine-tunings to the present. The apparatus White is using is confusing at times and I don’t think his theoretical world corresponds to the actual analysis he is doing of the historical and philosophical texts.
So in a word, what it means is that depending on how you tell a tale, there’ll be different subtle political conclusions that you or your readers will be read to.
Back to 12 The author is happy to accept this review and does not wish to comment further. A very difficult book to read, but it really opened my mind and enlightened me a whole lot!
Essays in Cultural Criticism. Essays in Cultural CriticismBaltimore: To sum up in one sentence; you find – and write – what you’re looking for.
If not a tropologist, then surely White can be categorized as a narrativist? White is a difficult figure to pigeon-hole. This book will be of interest to anyone—in any discipline—who takes the past as a serious object of study.
Metahistory: The Historical Imagination in Nineteenth-Century Europe – Hayden White – Google Books
Aug 30, Mark Bowles rated it really liked it. His books and essays analyze the narratives of nineteenth-and twentieth-century historians and philosophers, suggesting that historical discourse is a form of fiction that can be classified and studied on the basis of its structure and its use of language. The Historical Imagination in Nineteenth-Century Europe, historical discourse can be classified into the literary patterns of tragedy, comedy, romance, and irony.
The author’s thesis is simple enough – the same historical events can be described in good conscience in different ways, just like any story. Something about studying history must bring this specific quandry upon one, for I have certainly been consumed by it in recent years.
Just a moment while we sign you in to your Goodreads account. There is no such thing as a fixed human nature; and isms such as Marxism are always doomed to fail. The modes of argumentation, following Pepper’s ‘adequate root metaphors’ are formist, organist, mechanicist and contextualist.
Metahistory: The Historical Imagination in Nineteenth-Century Europe
I would come up with an example but, frankly, this aspect of Metahistory bored me a little. This is were our discipline and writing style historicxl from.
To see what your friends thought of this book, please sign up. His use of the term was somewhat vague — one reviewer distinguished no less than 20 variants of the word. The Historiography of Anti-Humanism”.
The book grew out of its author’s interest in the reasons why people study—and write—history. So using literary theory he divides them between different genres romantic, comedy, tragedy, irony.
A part symbolizes a quality. And here’s what I found really interesting – the extent to which our post-post-modern world suffers from just such an ironic malaise.