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Across the humanities and the social sciences, disciplinary boundaries have come into question as scholars have acknowledged their common preoccupations with cultural phenomena ranging from rituals and ceremonies to texts and discourse. Literary critics, for example, have turned to history for a deepening of their notion of cultural products; some of them now read historical documents in the same way that they previously read "great" texts. Anthropologists have turned to the history of their own discipline in order to better understand the ways in which disciplinary authority was constructed. As historians have begun to participate in this ferment, they have moved away from their earlier focus on social theoretical models of historical development toward concepts taken from cultural anthropology and literary criticism.
Much of the most exciting work in history recently has been affiliated with this wide-ranging effort to write history that is essentially a history of culture. The essays presented here provide an introduction to this movement within the discipline of history. The essays in Part One trace the influence of important models for the new cultural history, models ranging from the pathbreaking work of the French cultural critic Michel Foucault and the American anthropologist Clifford Geertz to the imaginative efforts of such contemporary historians as Natalie Davis and E. P. Thompson, as well as the more controversial theories of Hayden White and Dominick LaCapra. The essays in Part Two are exemplary of the most challenging and fruitful new work of historians in this genre, with topics as diverse as parades in 19th-century America, 16th-century Spanish texts, English medical writing, and the visual practices implied in Italian Renaissance frescoes. Beneath this diversity, however, it is possible to see the commonalities of the new cultural history as it takes shape. Students, teachers, and general readers interested in the future of history will find these essays stimulating and provocative.
- Sales Rank: #629361 in Books
- Published on: 1989-03-07
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .70" w x 6.00" l, .77 pounds
- Binding: Paperback
- 244 pages
From the Inside Flap
"An important and provocative argument for the 'new cultural history,' an approach to history that stresses the importance of meaning in social action and the complexity of recovering the dynamics of expression and interpretation in the past."—Michael MacDonald, University of Wisconsin, Madison
"An extremely important work that explains what is meant by 'the new cultural history.' It successfully explores the central ideas of this line of research, and it shows how this growing new field relates to developments in such other disciplines as anthropology. The book is uncommonly readable."—Elvin Hatch, University of California, Santa Barbara
"A lively and timely guide to a body of theory, some of it notoriously difficult, that is currently shaping academic practice."—Jan Goldstein, University of Chicago
From the Back Cover
"An important and provocative argument for the 'new cultural history, ' an approach to history that stresses the importance of meaning in social action and the complexity of recovering the dynamics of expression and interpretation in the past."--Michael MacDonald, University of Wisconsin, Madison
"An extremely important work that explains what is meant by 'the new cultural history.' It successfully explores the central ideas of this line of research, and it shows how this growing new field relates to developments in such other disciplines as anthropology. The book is uncommonly readable."--Elvin Hatch, University of California, Santa Barbara
"A lively and timely guide to a body of theory, some of it notoriously difficult, that is currently shaping academic practice."--Jan Goldstein, University of Chicago
About the Author
Lynn Hunt is Professor of History at the University of Pennsylvania.
Most helpful customer reviews
20 of 20 people found the following review helpful.
The New Fascinating History
By Pop Curious
In the book The New Cultural History, editor Lynn Hunt has compiled a series of essays that seek to explain cultural history, as well as essays that undertake the approach to history that is exemplified in cultural history. Each essay is by a cultural historian of some degree, and each excerpt builds upon and carries out the notion of cultural history itself. Instead of one long discussion about what is cultural history, this volume effectively translates the aspects of cultural history for the reader by offering various examples of how cultural historians write. The first half of the book is devoted to "models of cultural history," and it offers just that. In her essay on Michel Foucault, Patricia O'Brien gives the reader a better understanding of cultural history through the works and visions of the famous French philosopher. She argues that Foucault's approach to historical discourse paved the way for historians to be able to draw on interpretations of facts rather than just the facts alone. Suzanne Desan, in her essay, shows how this historical method was employed by more contemporary historians such as E.P. Thompson and Natalie Davis. Through their work the reader sees how they moved from a socioeconomic, Marxist view of history to one that was outlined by Foucault. Though Desan is writing a history, she is also doing what her subjects did and draws her own interpretations and finally, calls for a merge between social and cultural history. Aletta Biersack and Lloyd S. Kramer both take this new cultural history as a model, and in their respective essays discuss how anthropology and literature offer invaluable insights
into the psychology of culture of the masses. Once the model for cultural history is established, part two of The New Cultural History shows how use of philosophy, psychology, literature, and anthropology are used when discussing histories of various institutions. In her essay on the American Parade, Mary Ryan gives a more thorough history of an American custom by limiting the scope of her topic to three cities and a very concentrated period of time. She is then more able to draw interpretations of what the American parade has meant and through her findings, gives credence to her own hypothesis that the parade has mirrored the rise and fall of various social groups. In "Texts, Printing, Readings" author Roger Chartier looks at the text of creating text itself as a clue into how society reads and why, and through drawing his own interpretations he gives a voice to the readers in the past, and in a sense, gives ammunition for social historians who argue that there is a power relationship between printing and the masses. Thomas W. Laquer shows how this "ammunition" for social historians was further realized through narratives about human suffering in his article "Bodies, Details, and the Humanitarian Narrative." In the final essay, Randolph Starn draws on science to explain how art was created and perceived during the Renaissance and how a deeper understanding of how the eye works can show how making a work seem "Classical" served the deeper purpose of propagating and stabilizing power in the past. In every essay of The New Cultural History, it is this relationship between the popular masses and power that is in some way addressed. Each historian in the volume argues in different ways that power is not dictated from the upper levels by the elite, but rather that it is created among the population itself.
The population in question is culture, and by studying the various roots of power and reasons for it within a specific culture, it is possible to write a respected and valid history of that culture.
0 of 0 people found the following review helpful.
Must read
By Karl Krotke
This is a good read for students of historiography.
0 of 0 people found the following review helpful.
Five Stars
By Aslihan Zengin
Thanks!
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