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On the surface, historical scholarship might seem thoroughly incompatible with political engagement: the ideal historian, many imagine, is a disinterested observer focused exclusively on the past. In truth, however, political action and historical research have been deeply intertwined for as long as the historical profession has existed. In this insightful collection, practicing historians analyze, reflect on, and share their experiences of this complex relationship. From the influence of historical scholarship on world political leaders to the present-day participation of researchers in post-conflict societies and the Occupy movement, these studies afford distinctive, humane, and stimulating views on historical practice and practitioners
In this unique collection, the memoirs of eleven historians provide a fascinating portrait of a formative generation of scholars. Born around the time of World War II, these influential historians came of age just before the upheavals of the 1960s and ’70s and helped to transform both their discipline and the broader world of American higher education. The self-inventions they thoughtfully chronicle led, in many cases, to the invention of new fields—including women’s and gender history, social history, and public history—that cleared paths in the academy and made the study of the past more capacious and broadly relevant. In these stories—skillfully compiled and introduced by James Banner and John Gillis—aspiring historians will find inspiration and guidance, experienced scholars will see reflections of their own dilemmas and struggles, and all readers will discover a rare account of how today’s seasoned historians embarked on their intellectual journeys.
Designed to engage both students and general readers, Recent Themes on Historians and the Public illuminates the controversy over the role of historians in the public sphere.
Arthur M. Schlesinger, Jr., John Hope Franklin, Daniel Boorstin, C. Vann Woodward, Edmund S. Morgan, Barbara Tuckman, Eric Hobsbawn, Hugh Trevor Roper, Lawrence Stone—aside from carrying the distinction as some of the most successful and well-respected historians of the twentieth century, these scholars found their lives and careers evolving amid some of the world's pivotal historical moments. Dubbed the World War II Generation, the twenty-two English and American historians chronicled by William Palmer grew up in the aftermath of World War I, went to college in the 1930s as the threats of the Great Depression, Hitler, and Communism loomed over them, saw their careers interrupted by World War II, and faced the prospect of nuclear annihilation. They gained from their experiences the perspective and insight necessary to wrtie definitive histories on topics ranging from slavery to revolution. Engagement with the Past offers biographies of these individuals in the context of their generation's intellectual achievement. Based upon extensive personal interviews and careful reading of their work, Engagement with the Past is a fascinating behind-the-scenes look at a generation of historians and how they helped record and shape modern history.
"Nick Witham investigates how widely popular history books have gotten written, promoted, and institutionalized. Not just a matter of writing style, popular accessibility is also a product of an author's frame of mind, the editor's skill, and the publisher's marketing acumen, among other factors. Witham has done extensive work not just in historians' archives but in publishers' files. His primary subjects are Richard Hofstadter, Daniel Boorstin, John Hope Franklin, Gerda Lerner, and Howard Zinn-all popular historians who were explicitly concerned with the question of popularity. Collectively, they reveal the cross-influences of popular history writing and American popular culture"--
What is socially engaged art history? Art history is typically understood as a discipline in which academics produce scholarship for consumption by other academics. Today however, an increasing number of art historians are seeking to broaden their understanding of art historical praxis and look beyond the academy and towards socially engaged art history. This is the first book-length study to focus on these growing and significant trends. It presents various arguments for the social, pedagogical, and scholarly benefits of alternative, community-engaged, public-facing, applied, and socially engaged art history. The international line up of contributors includes academics, museum and gallery curators as well as arts workers. The first two sections of the book look at socially engaged art history from theoretical, pedagogical, and contextual perspectives. The concluding part offers a range of provocative case studies that highlight the varied and rigorous work that is being done in this area and provide a variety of inspiring models. Taken together the chapters in this book provide much-needed disciplinary recognition to socially engaged art history, while also serving as a springboard to further theoretical and practical work.
Recent history—the very phrase seems like an oxymoron. Yet historians have been writing accounts of the recent past since printed history acquired a modern audience, and in the last several years interest in recent topics has grown exponentially. With subjects as diverse as Walmart and disco, and personalities as disparate as Chavez and Schlafly, books about the history of our own time have become arguably the most exciting and talked-about part of the discipline. Despite this rich tradition and growing popularity, historians have engaged in little discussion about the specific methodological, political, and ethical issues related to writing about the recent past. The twelve essays in this collection explore the challenges of writing histories of recent events where visibility is inherently imperfect, hindsight and perspective are lacking, and historiography is underdeveloped. Those who write about events that have taken place since 1970 encounter exciting challenges that are both familiar and foreign to scholars of a more distant past, including suspicions that their research is not historical enough, negotiation with living witnesses who have a very strong stake in their own representation, and the task of working with new electronic sources. Contributors to this collection consider a wide range of these challenges. They question how sources like television and video games can be better utilized in historical research, explore the role and regulation of doing oral histories, consider the ethics of writing about living subjects, discuss how historians can best navigate questions of privacy and copyright law, and imagine the possibilities that new technologies offer for creating transnational and translingual research opportunities. Doing Recent History offers guidance and insight to any researcher considering tackling the not-so-distant past.
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This book explores the social and intellectual history of American historians and their writing of the past. It examines American historical writing from its beginnings in the late 19th century through the mid-20th century, focusing on the ways in which historians' social and political circumstances have shaped their work. Wish argues that American historians have always been deeply engaged with the social and political issues of their time, and that their work reflects this engagement. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.