An "innovative" (The New Yorker) retelling of the story of Dracula. Told with the flourish and poise of a talented storyteller, Kostova turns the age-old tale into a compelling "late night page-turner" (San Francisco Chronicle) When a young woman discovers a cache of ancient letters, she is thrown into the turbulent history of her parents' dark pasts. Uncovering a labyrinthine trail of clues, she begins to reconstruct a staggering history of deceit and violence. Debut novelist Elizabeth Kostova creates an adventure of monumental proportions, a relentless tale that blends fact and fantasy, history and the present, with an assurance that is almost unbearably suspenseful and utterly unforgettable.
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Today's students are questioning why they should take courses in the humanities and social sciences. Using a conversational voice, Raab provides an answer by explaining the role of the historian and what she or he does. Fully cognizant that most students will not become historians in universities, Raab provides examples of people who use their historical educations in other environments. Each chapter describes a specific aspect of "doing history," beginning with the spaces where historians work (e.g. archives). Readers are then introduced to the material with which historians work (primary sources) and the collaborations that exist between historians, librarians, and archivists. Raab also explores the impact of the digital age on historical work, the particular skillset imparted to those with an education in history, and the relationship between history and the humanities.
In a major reassessment of Shakespeare's dominant dramatic genre, Paola Pugliatti explores the historiographical quality of Shakespeare's histories. Her main assumption is that Shakespeare's staging of English history helped to shape a new historiography. In particular, multi-perspectivism in the treatment of political issues produced a problem-oriented kind of historical perspective. This exploited the opportunities offered by the theatrical medium, and inaugurated a drama which portrayed history as a critical outlook on a world of problems and retrospective possibilities, rather than as unconditional belief in, or even worship of, a world of facts.
This volume, originally published in 1980 discusses the way in which distinguished historians such as Gibbon, Ranke, Macaulay, De Tocqueville, Marx, Maitland, Bloch, Namier, Wheeler, Butterfield and Braudel have regarded and tackled their discipline. As well as chapters by individual authors who are experts on their chosen historian, there is a substantial introduction by the editor which serves as the basis for a discussion about the problems involved in the writing of history.
In Theopompus the Historian, Gordon Shrimpton critically examines the direct evidence concerning the life and lost works of Theopompus of Chios, the fourth-century BC historian and orator, providing the first comprehensive study of the man and his work. In a translation of the fragments (the surviving citations of Theopompus' work) and of the testimonies (the references made to Theopompus' work by other writers), he makes available all that remains of Theopompus' writings.
Nienna’s not a librarian in Portland Oregon. Nope. Not anymore. She’s now in another world serving as a Historian to a population of elves. She’s obligated to a life of recording her visions in a tome. A tome which seems to be hellbent on recording her death and Alred’s heartbreak. Alred Lightvale. Elf. Hot. Protector of the Historian. He’s fallen in love with the Historian but he doesn’t understand why she won’t let him in. She’s trying to keep a dark secret from him and he’s hellbent on keeping her alive. And in his life. No matter what dark entity is trying to destroy their world.
Written in an engaging and entertaining style, this widely-used how-to guide introduces readers to the theory, craft, and methods of history and provides a series of tools to help them research and understand the past. Part I is a stimulating, philosophical introduction to the key elements of history--evidence, narrative, and judgment--that explores how the study and concepts of history have evolved over the centuries. Part II guides readers through the workshop of history. Unlocking the historian's toolbox, the chapters here describe the tricks of the trade, with concrete examples of how to do history. The tools include documents, primary and secondary sources, maps, arguments, bibliographies, chronologies, and many others. This section also covers professional ethics and controversial issues, such as plagiarism, historical hoaxes, and conspiracy theories. Part III addresses the relevance of the study of history in today's fast-paced world. The chapters here will resonate with a new generation of readers: on everyday history, oral history, material culture, public history, event analysis, and historical research on the Internet. This Part also includes two new chapters for this edition. "GIS and CSI" examines the use of geographic information systems and the science of forensics in discovering and seeing the patterns of the past. "Too Much Information" treats the issue of information overload, glut, fatigue, and anxiety, while giving the reader meaningful signals that can benefit the study and craft of history. A new epilogue for this edition argues for the persistence of history as a useful and critically important way to understand the world despite the information deluge.
Film is increasingly engaging the attention of students of history at all levels. In its manifold forms from the newsreel to the 'feature', it is a major source of evidence for, and an important influence upon, contemporary history, and a vivid means of bringing the recent past to life. For earlier periods, it provides a medium in which the often widely dispersed visual evidences of the past can be brought together for the student. It offers the historian a new form in which to interpret and present his subject, and, as television has shown, it is by far the most important vehicle for the presentation of history to mass audiences. The analysis of its content and impact and the exploration of its uses are especially fitted to bring history into an interdisciplinary relationship with other fields, from sociology to the visual arts.
Best-known for his sweeping narrative Histories of His Own Times and for his portrait museum on Lake Como, the Italian bishop and historian Paolo Giovio (1486-1552) had contact with many of the protagonists of the great events he so vividly described--the wars of France, Germany, and Spain, and the sack of Rome. He used the information he gleaned from his contacts to carry on an extensive correspondence that became a kind of proto-journalism. With his interests in history, literature, geography, exploration, medicine, and the arts, this man reflects almost the entire spectrum of High Renaissance civilization. In a biography surveying both Giovio's life and his works, T. C. Price Zimmermann examines the historian as a figure formed by fifteenth-century humanism who was caught in the changing temper of the Counter Reformation. Giovio's Histories remained a widely used account of the wars of Italy for nearly two hundred and fifty years, although his objectivity was often questioned owing to the patronage he received. Following Burckhardt, who began to restore Giovio's reputation more than a century ago, Zimmermann reveals a conscientious, independent-minded historian and an astute commentator on the entire Mediterranean world, the first to integrate the contemporary history of the Muslim nations with that of Europe, east and west. The book also stresses the important contributions Giovio made to the ethos of the Renaissance through his biographies and famous portrait museum, both tributes to the emerging sense of individual human personality.
Everyone has a personal connection to the past, independent of historical inquiry. So, what is the role of the historian? Exploring the relationship between history and society, Kalela argues for a more participatory research culture and provides practical guidance on planning research projects with greater public impact.
The volume Cassius Dio the Historian: Methods and Approaches explores the Roman historian’s methodology and agendas. He had his own agendas for writing his Roman History, but at the same time, he was a historian with an ambition to tell the history of Rome.
The discipline of history defines itself in terms of proof not trust. However, in the eighteenth century it became embarrassingly clear that the capacity of the past to appear as a totality under the critical control of the present eluded historical practice at every stage from research to judgement and to the critical reception of that judgement. Was history a practical but uncritical resource (the 'Temple of Fame'), or a self-enclosed critical project ever shy of ultimate truth? Technical manuals and journal reviews repeatedly reasserted fundamental criteria for acceptable historical practice, but failed to eradicate confusion between coping with and exploiting the information differentials between historical actors, historians, and readers of historical texts. The Historian's Two Bodies offers a detailed analysis of this basic problem and its various repercussions for the competing perceptions of the historical task in eighteenth-century France while, importantly, denying itself any historical position free from such difficulties.