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The thesis and value of Andrew Elliott’s new study of ‘medieval film’ are neatly encapsulated by his reminding us at the end of the book’s preface that, in the medieval tradition, the Grail quest involved asking, not answering, the right questions.
In History in the Discursive Condition (2011) – a follow up to her (for me) ground-breaking Realism and Consensus (1), and Sequel to History: Postmodernism and the Crisis of Representational Time (2) – Elizabeth Deeds Ermarth, a student of interdisciplinary cultural history and theory, explores the practical implicat
Over the past few decades we have been invited to rethink history, pursue it, practise it, defend it, refigure it, and generally consider what it is, what it’s for, and whether we really need to bother with it. Now, just as we think it must all be done and dusted, if not done to death, we are offered more advice on ‘doing’ it.
The former Master of Peterhouse, Herbert Butterfield, has become something of a cottage industry over the past ten years or so, with a number of monographs resurrecting a career that had previously fallen into neglect.
The somewhat conventional choice of jacket imagery – detail of Clio, the muse of history from Vermeer’s The Art of Painting – belies the ambitious aims of Dr Ulinka Rublack’s Concise Companion to History. It sets out to be a ‘guide to be inspired by and rethink history’ (p.
This is a monster of a book. It must be the most detailed assessment of the fall of Constantinople in 1453 that there has ever been. It subjects the scholarly literature devoted to the subject over the last century-and-a-half to a searching scrutiny.
‘Structure’ is still an unfashionable word in history. Since the late 1980s, ‘post-structuralism’ (or, more commonly, its elastic cousin postmodernism) has seemed to dominate much historical writing and methodology. The ‘linguistic turn’ has sharpened historians’ attention to the power of language.
It is rare to review a book that was published nearly 60 years ago. It is also a privilege, because Sir George Hill’s last volume in his four-volume A History of Cyprus is considered by most historians of Cyprus as the starting point for both students and scholars of the Ottoman and British periods (until 1948) of Cyprus’ past.
Historians with an interest in personal and public memory know a great deal about the challenges entailed in attempting to document the affective contours of past and present lives.
The historian is like an actor on a revolving stage. He has a brief time in which to recite his words. He’s got to hold the audience. He must also hope that he has used the time on the stage to teach and write about things that really matter ... He must ...