By Simon Gunn
In contemporary occasions there was reputation of the transforming into impact of cultural concept on ancient writing. Foucault, Bourdieu, Butler and Spivak are only a number of the thinkers whose principles were taken up and deployed through historians.
What are those rules and the place do they arrive from? How have cultural theorists thought of 'history'? and the way have historians utilized theoretical insights to reinforce their very own knowing of occasions within the past?
This ebook offers a wide-ranging and authoritative advisor to the usually vexed and debatable dating among historical past and modern concept. It analyses the options that problem either theorists and historians, corresponding to energy, identification, modernity and postcolonialism, and gives a severe review of them from an old standpoint.
Written in an available demeanour, History and Cultural Theory provides historians and scholars a useful precis of the effect of cultural concept on historiography during the last two decades, and shows the most likely instructions of the topic within the future.
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Extra info for History and Cultural Theory
Contrary to what professional historians generally claim, therefore, historical research and writing is essentially a literary enterprise according to Hayden White. Those processes which historians consider as essential to their discipline and its claim to knowledge – the evaluation of sources, the application of methods, the weighing of evidence – are seriously downgraded in his account. Linguistic protocols, such as modes of NARRATIVE tropology and emplotment, determine historians’ interpretations of the past, not historical evidence or analysis.
The single most important influence on recent ideas about history as narrative, however, was the French cultural critic Roland Barthes. In an article entitled ‘The Discourse of History’, first published in 1967, Barthes posed the question of how history as a science, ‘placed under the imperious warrant of the “real” ’, differed in discursive terms from ‘imaginary narration as we find it in the epic, the novel, the drama’ (Barthes 1986a, 127). History, he argued, borrowed techniques from fiction in order to claim to represent ‘what really happened’ in the past.
While the former see narrative as a threat to be resisted at all costs, the latter view it as proof that no direct correspondence exists between historiography and the past. Both sides, however, tend to assume that narrative itself can be treated as a unified category, when there is in fact no such agreement within contemporary cultural theory. There are very different viewpoints about how narrative works and what kind of narrative history, in particular, represents. In the rest of this chapter we shall look at three approaches to these issues.