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This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.
Ranajit Guha`s writings have had a formative impact on several disciplines: postcolonial studies, literature, anthropology, history cultural studies, art history. Guha first became known as the practitioner of a critical Marxism that ran parallel to the work of British and French Marxist historians of the 1960s and 1970s but which, instead of recreating a `history from below, sought active political engagement by deploying insights drawn from Gramsci and Mao. More recently, Cuba`s work has drawn attention to the phenomenological and the everyday, and been noticed for its critique of the disciplinary practices of history-writing. Guha`s reputation rests most famously on his role as the founder and guiding spirit of Subaltern Studies, which has critiqued colonialist and nationalist historiographies. In spawning new ways of thinking about history, this has created an intellectual ferment richer than anything else emerging out of modern South Asia. Guha`s historical and political writings, tucked away in obscure journals and collections, have been virtually inaccessible; they are brought together for the first time in the present volume by Partha Chatterjee, whose long association with Guha as a founder-member of the Subaltern Studies editorial board is complemented by his own international stature as a historian, political theorist, and public intellectual. Every serious student of South Asian history, politics, and anthropology will be enriched by the astonishing diversity of insights and scholarship within this book.
Originally published in 1948. In the first essay of this collection, Lovejoy reflects on the nature, methods, and difficulties of the historiography of ideas. He maps out recurring phenomena in the history of ideas, which the essays illustrate. One phenomenon is the presence and influence of the same presuppositions or other operative "ideas" in very diverse provinces of thought and in different periods. Another is the role of semantic transitions and confusions, of shifts and of ambiguities in the meanings of terms, in the history of thought and taste. A third phenomenon is the internal tensions or waverings in the mind of almost every individual writer—sometimes discernible even in a single writing or on a single page—arising from conflicting ideas or incongruous propensities of feeling or taste to which the writer is susceptible. These essays do not contribute to metaphysical and epistemological questions; they are primarily historical.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
Our understanding of lycanthropy is limited by our association of it with contemporary portrayals of werewolves in horror films and gothic fiction. No rational person today believes that a human being can literally be metamorphosed into a wolf; therefore, in the absence of an historical context, the study of werewolves can appear to be a wayward pursuit of the perversely irrational and the sensational. This Reader provides the historical context Drawing on primary sources, it is a comprehensive survey of all aspects of lycanthropy, with a focus on the medieval and Renaissance periods. Lycanthropes were on trial in the courtrooms of Europe, and on examination in medical offices and mental hospitals; they were the objects of communal fear and pity, and the subjects of sermons and philosophical treatises. In the Introduction to the Reader, Charlotte Otten shows that the study of lycanthropy uncovers basic issues in human life the significance of violence and criminality, the role of the demonic in aberrant behavior, and ultimately the nature of good and evil The implications for modern life are immediately apparent. The Reader is divided into six sections ( 1) Medical Cases, Diagnoses, Descriptions; (2) Trial Records, Historical Accounts, Sightings; (3) Philosophical and Theological Approaches to Metamorphosis; ( 4) Critical Essays on Lycanthropy (Anthropology, History, and Medicine); (5) Myths and Legends; and (6) Allegory . Each section has an introduction that summarizes and interprets the materials.
This is a book about why history matters. It shows how popularized historical images and narratives deeply influence Americans' understanding of their collective past. A leading public historian, Mike Wallace observes that we are a people who think of ourselves as having shed the past but also avid tourists who are on a "heritage binge," flocking by the thousands to Ellis Island, Colonial Williamsburg, or the Vietnam Memorial.Wallace probes into the trivialization of history that pervades American culture as well as the struggles over public memory that provoke stormy controversy. The recent imbroglio surrounding the National Air and Space Museum's proposed Enola Gay exhibit was reported as centering on why the U.S. government decided to use the A-Bomb against Japan. Wallace scrutinizes the actual plans for the exhibit and investigates the ways in which the controversy drew in historians, veterans, the media, and the general public.Whether his subject is multimillion dollar theme parks owned by powerful corporations, urban museums, or television docudramas, Mike Wallace shows how their depictions of history are shaped by assumptions about which pasts are worth saving, whose stories are worth telling, what gets left out, and who is authorized to make the decisions. Author note: Mike Wallace is Professor of History at John Jay College, City University of New York. He is the co-author, with Edwin G. Burrows, of Gotham: A History of New York City to 1898, winner of the 1999 Pulitzer Prize for History.
Historical Essays provides an authoritative critical, annotated edition of Carlyle's essays on history and historical subjects.
The essays address Barry's engagement with the contemporary cultural debate on Ireland and also with issues that inform postcolonial critical theory."--Jacket.