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Across the humanities and the social sciences, disciplinary boundaries have come into question as scholars have acknowledged their common preoccupations with cultural phenomena ranging from rituals and ceremonies to texts and discourse. Literary critics, for example, have turned to history for a deepening of their notion of cultural products; some of them now read historical documents in the same way that they previously read "great" texts. Anthropologists have turned to the history of their own discipline in order to better understand the ways in which disciplinary authority was constructed. As historians have begun to participate in this ferment, they have moved away from their earlier focus on social theoretical models of historical development toward concepts taken from cultural anthropology and literary criticism. Much of the most exciting work in history recently has been affiliated with this wide-ranging effort to write history that is essentially a history of culture. The essays presented here provide an introduction to this movement within the discipline of history. The essays in Part One trace the influence of important models for the new cultural history, models ranging from the pathbreaking work of the French cultural critic Michel Foucault and the American anthropologist Clifford Geertz to the imaginative efforts of such contemporary historians as Natalie Davis and E. P. Thompson, as well as the more controversial theories of Hayden White and Dominick LaCapra. The essays in Part Two are exemplary of the most challenging and fruitful new work of historians in this genre, with topics as diverse as parades in 19th-century America, 16th-century Spanish texts, English medical writing, and the visual practices implied in Italian Renaissance frescoes. Beneath this diversity, however, it is possible to see the commonalities of the new cultural history as it takes shape. Students, teachers, and general readers interested in the future of history will find these essays stimulating and provocative.… (altro)
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Lynn Hunt writes with the intention of showing “how a new generation of historians of culture use literary techniques an approaches to develop new materials and methods of analysis” (pg. 15). Summarizing the field of cultural history in 1989, Lynn Hunt traces the development of the Annales school, dominated by Fernand Braudel, and the Marxist school. Following the 1970s and the rise of Michel Foucault, both schools turned their attention to culture. Hunt writes, “Just as social history sometimes moved from one group to another (workers, women, children, ethnic groups, the old, the young) without developing much sense of cohesion or interaction between topics, so too a cultural history defined topically could degenerate into an endless search for new cultural practices to describe, whether carnivals, cat massacres, or impotence trials” (pg. 9). Hunt continues, “At the moment, the anthropological model reigns supreme in cultural approaches. Rituals, carnivalesque inversions, and rites of passage are being found in every country and almost every century. The quantitative study of mentalités as the ‘third level’ of social experience never had many followers outside of France” (pg. 11). Turning to Clifford Geertz, Hunt writes, “The deciphering of meaning, then, rather than the inference of causal laws of explanation, is taken to be the central task of cultural history, just as it was posed by Geertz to be the central task of cultural anthropology” (pg. 12). At the time of writing, Hunt points out that most historians (with the exception of Roger Chartier) were reluctant to use literary theory. Hunt further argues that the language of metaphor is crucial to cultural history (pg. 16). Hunt continues, “Words did not just reflect social and political reality; they were instruments for transforming reality” (pg. 17). Hunt concludes, “For the moment, as this volume shows, the accent in cultural history is on close examination – of texts, of pictures, and of actions – and on open-mindedness to what those examinations will reveal, rather than on elaboration of new master narratives or social theories to replace the materialist reductionism of Marxism and the Annales school” (pg. 22). ( )
Across the humanities and the social sciences, disciplinary boundaries have come into question as scholars have acknowledged their common preoccupations with cultural phenomena ranging from rituals and ceremonies to texts and discourse. Literary critics, for example, have turned to history for a deepening of their notion of cultural products; some of them now read historical documents in the same way that they previously read "great" texts. Anthropologists have turned to the history of their own discipline in order to better understand the ways in which disciplinary authority was constructed. As historians have begun to participate in this ferment, they have moved away from their earlier focus on social theoretical models of historical development toward concepts taken from cultural anthropology and literary criticism. Much of the most exciting work in history recently has been affiliated with this wide-ranging effort to write history that is essentially a history of culture. The essays presented here provide an introduction to this movement within the discipline of history. The essays in Part One trace the influence of important models for the new cultural history, models ranging from the pathbreaking work of the French cultural critic Michel Foucault and the American anthropologist Clifford Geertz to the imaginative efforts of such contemporary historians as Natalie Davis and E. P. Thompson, as well as the more controversial theories of Hayden White and Dominick LaCapra. The essays in Part Two are exemplary of the most challenging and fruitful new work of historians in this genre, with topics as diverse as parades in 19th-century America, 16th-century Spanish texts, English medical writing, and the visual practices implied in Italian Renaissance frescoes. Beneath this diversity, however, it is possible to see the commonalities of the new cultural history as it takes shape. Students, teachers, and general readers interested in the future of history will find these essays stimulating and provocative.
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