Produced in honor of White's eightieth birthday, _Re-Figuring Hayden White_ testifies to the lasting importance of White's innovative work, which firmly reintegrates historical studies with literature and the humanities. The book is a major reconsideration of the historian's contributions and influence by an international group of leading scholars from a variety of disciplines. Individual essays address the key concepts of White's intellectual career, including tropes, narrative, figuralism, and the historical sublime while exploring the place of White's work in the philosophy (...) of history, postmodernism, and ethics. They also discuss his role as historian and teacher and apply his ideas to specific historical events. (shrink)

What is history? From Thucydides to Toynbee historians and nonhistorians alike have wondered how to answer this question. A New Philosophy of History reflects on developments over the last two decades in historical writing, not least the renewed interest in the status of narrative itself and the presence of the authorial "voice." Subjects include the problems of Grand Narrative, multiple voices and the personal presence of the historian in his text, the ambitions of the French Annales school and the so-called (...) "Grand Chronicler," and the relevance of non-literary models--museum presentations and picturings--regarding historical discourse. The range of approaches found in A New Philosophy of History ensures that this book will establish itself as required reading not only for historians, but for everyone interested in literary theory, philosophy, or cultural studies. This volume presents essays by Hans Kellner, Nancy F. Partner, Richard T. Vann, Arthur C. Danto, Linda Orr, Philippe Carrard, Ann Rigney, Allan Megill, Robert Berkhofer, Stephen Bann, and Frank Ankersmit. (shrink)

Two new ways of looking at forms of knowledge were practiced in France roughly between 1965 and 1985. The postwar Annales school of history broke from "narrative" historical accounts to "nonnarrative" accountssynchronic, quantitative accounts not in story form. At the same time, the structuralists made history a special target as they began questioning the primacy and security of meaning and the strategies for constructing meaning in narratives. If structuralism and its aftermath is to be said to have had an effect (...) on history, it would be the reinvention of reading, conceiving reading as a more complex and elusive process than it formerly had been, and exposing more and more of the accepted, fundamental components of human life as constructions. Three writers, Paul Ricoeur, F. R. Ankersmit, and Hayden White, recognize narrativity as a worldview, rejecting the Annales school distinction between narrative and nonnarrative history. These three see story history as a genre. They agree with the poststructuralists on the allegorical nature of history, but their arguments are, unconventionally, morally based. Their discussions of the constructions of narratives serve less to undermine history than to reground it as a humane discourse. (shrink)

ABSTRACTHistorical distance presents more complex issues than simply evaluating the meaning of the temporal span between a point in the past and some moment present to an observer. The ordinary historical difference, which is horizontal in the sense that it evokes the notion of hermeneutic horizons, fragments uncontrollably when examined closely, resulting in what might be called a “chronoschism.” The experience of encountering a historical painting by Botticelli provides an example of this fragmentation. This complication of historical distance reminds us (...) also of quite different sorts of distance, including the depths of endless regression, and the elevation of the historical sublime. These various forms of historical distance present a challenge to the horizontal character of normal historical practice. (shrink)

The Holocaust puts ethical constraints upon representation because the elements of the representation are inadequate to what is represented. Yet, because we are a historical society, the Holocaust must become historical for its memory to survive. Berel Lang and Hayden White have separately suggested that a special kind of representation may suit the special nature of this event. They see the key to preserving the "responsible," "proper" representations of the Holocaust in maintaining a restricted discourse before it. Something must be (...) silenced, and each of them conceives of that something as a form of language use.Martin Jay and others believe that the methods of critical history will protect the memory of the Holocaust. The critical dynamism of the profession, however, is driven by professionalism itself. Proximate truth results from constant historical revision. Rewards exist to keep the structure moving. It is the dynamism of the structure, its strength, however, that should undermine any confidence one might place in it of maintaining the memory of any event whatever.It is not that the system of modern research and institutional verification does not work. It works all too well, producing an endless supply of competing, verifiable accounts, the significance of which is always in question. If the modern historical profession cannot well serve any memorializing function, nor sustain a stable referent, and if there is no particular form of writing that naturally suits the sort of event exemplified by the Holocaust, then we must conclude that there is no escape from the risks of representation, no limit that will guarantee any witness. The work must be recommenced within a changing discourse, always differently. And so, with all its paradoxes, "'Never Again' is Now.". (shrink)

This chapter contains sections titled: The (Anti)Social Sciences The “Science Effect” and the Modern Fact The “Science Effect” and the APA Publication Manual Society as Text Epistemics are Rhetorics are Politics Models are Stories The Figurality of it All So What?

_ Source: _Page Count 8 In _The Practical Past_ Hayden White argues that both history and fiction should be considered “literary writing,” which he defines as writing in which the form becomes part of the content. Both history and realistic fiction wish to be faithful to their referents, but are prevented by their need to employ cultural narrative systems. The “practical past,” distinguished from the historical past by Michael Oakeshott, proves to be the arena in which we choose our pasts, (...) define events, and experience trauma. (shrink)