The work under review here owes its genesis to the Open University course of the same title, for which it is the core text. As such, it consists of ten interlinked essays, specially commissioned, on the broad theme of the dynamics of difference within and between world religious traditions.
The first principle of understanding history, I was taught, is to sympathize with the historical actors, to immerse oneself in their context and perspective.(1) Otherwise, history becomes a fabricated reconstruction – more about the writer's ideology than the events of the past.
Reading an edited collection of articles can be likened to dining out on a tasting menu: you’re afforded the opportunity to sample broadly but portions can sometimes be relatively puny. A standard serving, like a monograph, provides bulk whereas essays may fire up your appetite yet fail to satiate your hunger.
‘We are most of us governed by epistemologies that we know to be wrong’: Gregory Bateson’s observation summarizes what motivates Keith Jenkins’s latest book.(1) In this collection of essays written and published over the last 15 years (including not only a foreword by Hayden White and an afterword by Alun Munslow, but also responses from Perez Zagorin and Michael C.
History at the Crossroads. Australians and the Past is the latest work from Paul Ashton and Paula Hamilton, founding editors of Public History Review and the co-directors of the Australian Centre for Public History based at the University of Technology in Sydney.
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.
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
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.
The writing of history – any history – is shaped by the intellectual environment in which it is written, and by the preoccupations of its writers. As Christopher Tyerman acknowledges in his prefatory remarks, ‘writing history is not a neutral revelation but a malleable, personal, contingent, cultural activity’ (p. xi).
A book-length examination of the work of Frank Ankersmit has been long overdue. Ankersmit occupies a curious position in regards to the various skirmishes taking place over the philosophy of history in the past 30 years or so.