Plato. Aristotle. Augustine. Hume. Kant. Hegel. Every student of philosophy needs to know the history of the philosophical discourse such giants have bequeathed us. Philosopher C. Stephen Evans brings his expertise to this daunting task as he surveys the history of Western philosophy, from the Pre-Socratics to Nietzsche and postmodernism—and every major figure and movement in between.

Postmodernism has significantly affected the theory and practice of history. It has induced fears about the future of historical study, but has also offered liberation from certain modernist constraints. This original and thought-provoking study looks at the context of postmodernist thought in general cultural terms as well as in relation to history. Postmodernism in History traces philosophical precursors of postmodernism and identifies the roots of current concerns. Beverley Southgate describes the core constituents of (...) class='Hi'>postmodernism and provides a lucid and profound analysis of the current state of the debate. His main concern is to counter `pomophobia' and to assert a positive future for historical study in a postmodern world. Postmodernism in History is a valuable guide to some of the most complex questions in historical theory for students and teachers alike. (shrink)

Willie Thompson offers a clear, jargon-free introduction to postmodernist theory and its significant impact on the study of history. This is a hotly-debated topic, and much of the literature is both polemical and inaccessible to the novice. Thompson, however, presents key ideas in a straightforward way, making these debates relevant to students' own work.

Histories of Postmodernism reexamines the history of the constellation of ideas and thinkers associated with postmodernism. The increasingly dominant historical narrative depicts a relatively smooth development of ideas from Friedrich Nietzsche and Martin Heidegger, through a range of French theorists, most notably Jacques Derrida and Michel Foucault, to contemporary American thinkers such as Richard Rorty, Edward Said, and Judith Butler. Histories of Postmodernism challenges this narrative by highlighting the local contexts of relevant theorists and thus the (...) crucial distinctions that divide successive articulations of the themes and concepts associated with postmodernism. As postmodern ideas traveled from nineteenth-century Germany to mid-twentieth-century France and on to the contemporary United States, so the relevant theorists transformed that heritage within the context of particular intellectual traditions and specific political and aesthetic issues. (shrink)

Politics and Modernity provides a critical review of the key interface of contemporary political theory and social theory about the questions of modernity and postmodernity. Review essays offer a broad-ranging assessment of the issues at stake in current debates. Among the works reviewed are those of William Connolly, Anthony Giddens, J[um]urgen Habermas, Alasdair MacIntyre, Richard Rorty, Charles Taylor and Roy Bhaskar. As well as reviewing the contemporary literature, the contributors assess the historical roots of current problems in the works of (...) Nietzsche and Max Weber. (shrink)

There is a confusion over and inchoate understanding of how the past is made understandable through postmodernist historical orientation. The purpose of the article is to outline the characteristic features of the postmodernist movement in social sciences, to explain its confrontation with history, to document its critique of the conventional practice of history, and to discuss its implications for history education. The postmodernist challenge to the foundations of the discipline of history is elucidated with an emphasis (...) on its epistemological underpinnings. Implications of postmodernism for the teaching and learning of history are discussed. (shrink)

This essay surveys the present position of postmodernism with respect to the effect of its ideas upon historiography. For this purpose it looks at a number of writings by historians that have been a response to postmodernism including the recently published collection of articles, The Postmodern History Reader. The essay argues that, in contrast to scholars in the field of literary studies, the American historical profession has been much more resistant to postmodernist doctrines and that the latters' (...) influence upon the thinking and practice of historians is not only fading but increasingly destined to fade. The essay also presents a critical discussion of the current philosophy of postmodernism in its bearing upon historiography, directed chiefly against its claim that the world has undergone an epochal transition from the modern to a postmodern age; its theory of language and linguistic idealism; its opposition to historical realism and denial of the actuality of the past as a possible object of reference; and its theory of historical narrative as unconstrained fictional construction. This discussion includes a consideration of the work of postmodernist thinkers such as J.-F. Lyotard, of the recent books by David Roberts and Robert F. Berkhofer, Jr. which espouse a postmodernist theory of history, and of the narrativist theory of Hayden White. The essay also notes some of the reasons for postmodernism's appeal; and while it does not deny that postmodernist philosophy may have served a useful purpose in provoking historians to be more self-critical and aware of their presuppositions and procedures, it maintains that its skeptical and politicized view of historical inquiry is deeply mistaken, out of accord with the way historians themselves think about their work, and incapable of providing an understanding of historiography as a form of thought engaged in the attainment of knowledge and understanding of the human past. (shrink)

Why is postmodernist discourse so biased against the Enlightenment? Indeed, postmodern theory challenges the validity of the rational basis of modern historical scholarship and the Enlightenment itself. Rather than avoiding this conflict, the contributors to this vibrant collection return to the philosophical roots of the Enlightenment, and do not hesitate to look at them through a postmodernist lens, engaging issues like anti-Semitism, Utopianism, colonial legal codes, and ideas of authorship. Dismissing the notion that the two camps are ideologically opposed and (...) thus incompatible, these essays demonstrate an exciting new scholarship that confidently mixes the empiricism of Enlightenment thought with a strong postmodernist skepticism, painting a subtler and richer historical canvas. (shrink)

"Written in clear language, this book offers a seasoned historian's effective response to postmodernism's challenge to culture and history.

Art historians interpret artworks, tell the history of art and compare diverse artistic traditions. This chapter presents one key portion of Krauss's theorizing, Arthur Danto's definition of art, and compares and contrasts their accounts. Responding to radically original contemporary art, Krauss offered a challenging philosophical argument about the nature of art. Danto offers a completely general account, one that identifies the essence of all art. His written commentaries on Warhol tell what is embodied in Brillo Box, which is a (...) commentary on the meaning of visual art in a commodity culture. Danto believes that essentialism is the only satisfactory basis for philosophy. Sometimes appealing to essentialism involves a conservative ideal that at bottom nothing ever changes. Modernism, Antimodernism, Postmodernism, a textbook that discusses a variety of philosophical writers. In the nineteenth century, Kant's and Hegel's philosophies played a crucial role in the formative development of art history writing. (shrink)

This book reveals the rational basis for historians' descriptions, interpretations and explanations of past events. C. Behan McCullagh defends the practice of history as more reliable than has recently been acknowledged. Historians, he argues, make their accounts of the past as fair as they can and avoid misleading their readers. He explains and discusses postmodern criticisms of history, providing students and teachers of history with a renewed validation of their practice. McCullagh takes the history debate to (...) a new stage with bold replies to the major questions historians face today. (shrink)

This study represents a comparison between two radical gestures of literary self-reflexivity: romantic irony and postmodernist metafiction. It examines the impact of early German romantic theory and its central concept of irony on German and English romantic narrative fiction and relates the same to postmodernist self-reflexive novels, including its British and American variants. A primary objective of this comparison is to account for the radical skepticism that postmodernist metafiction voices with respect to the paramount philosophical question of truth and reality. (...) The immanent tension between an absolute idealistic and a radically skeptic position which romantic irony articulates and enacts is conceived of as an important and instructive link to the understanding of postmodernism. (shrink)

Pragmatism, Postmodernism and the Future of Philosophy is a vigorous and dynamic confrontation with the task and temperament of philosophy today. In this energetic and far-reaching new book, Stuhr draws persuasively on the resources of the pragmatist tradition of James and Dewey, and critically engages the work of Continental philosophers like Adorno, Foucault, and Deleuze, to explore fundamental questions of how we might think and live differently in the future. Along the way, the book addresses important issues in public (...) policy, university administration, spirituality, and the notion of community and its meaning in a global world of difference. This book is essential reading for anyone concerned with the future of philosophy, and the ways in which philosophical thinking can help us live better, more fulfilling lives. (shrink)

This book examines the wide-ranging implications for historical research of the view that everything is physical and that no immaterial entities, forces, or phenomena exist. It presents the consequences of materialism for our understanding of the historical past, including the rejection of postmodernist perspectives on history.

The term ‘the artificial’ can only be given a precise meaning in the context of the evolution of computational technology and this in turn can only be fully understood within a cultural setting that includes an epistemological perspective. The argument is illustrated in two case studies from the history of computational machinery: the first calculating machines and the first programmable computers. In the early years of electronic computers, the dominant form of computing was data processing which was a reflection (...) of the dominant philosophy of logical positivism. By contrast, artificial intelligence (AI) adopted an anti-positivist position which left it marginalised until the 1980s when two camps emerged: technical AI which reverted to positivism, and strong AI which reified intelligence. Strong AI's commitment to the computer as a symbol processing machine and its use of models links it to late-modernism. The more directly experiential Virtual Reality (VR) more closely reflects the contemporary cultural climate of postmodernism. It is VR, rather than AI, that is more likely to form the basis of a culture of the artificial. (shrink)

It has become an intellectual commonplace to claim that we have entered the era of 'postmodernity'. Three themes are embraced in this claim the poststructurist critique by Foucault, Derrida and others of the philosophical heritage of the Enlightenment the supposed impasse of High Modern art and its replacement by new artistic forms and the alleged emergence of 'post-industrial' societies whose structures are beyond the ken of Marx and other theorists of industrial capitalism. Against Postmodernism takes issue with all these (...) themes. It challenges the idealist irrationalism of post-structuralism. It questions the existence of any radical break separating allegedly Postmodern from Modern art. And it denies that recent socio-economic developments represent any fundamental shift from classical patterns of capital accumulation. Drawing on philosophy and history, Against Postmodernism takes issue also with some of the most forthright critics of postmodernism -- Jurgen Habermas and Fredric Jameson, for example. But it is most distinctive in that it offers a historical reading of the theories of such currently fashionable thinkers as Baudrillard and Lyotard. Postmodernism, Alex Callinios argues, reflects the disappointed revolutionary generation of '68, and the incorporation of many of its members into the porfessional and managerial 'new middle class'. It is best read as a symptom of political frustration and social mobility rather than as a significant intellectual or cultural phenomenon in its own right. (shrink)

Philosophy of history is currently dominated by postmodernist anti-realists who claim that historiography can never provide true accounts of the past. The Poverty of Anti-realism exposes the faulty premises and reasoning behind such assertions and shows that anti-realism has political implications unforeseen and unwanted by its adherents.

Postmodernism has emerged as a significant cultural, political and intellectual concept which has fundamentally altered our understanding of architecture, selfhood, knowledge formation, ethics, history, economics and politics. Until now, the primary and most historically significant accounts of postmodernism have remained uncollected. This set provides scholars with a much needed interdisciplinary and comprehensive collection of essays that map out the ways in which postmodernism is conceptualized and demonstrate how it has caused a wide range of traditions and (...) disciplines to redefine their objects of study and modes of inquiry. The volumes include: * foundational essays * critical texts * disciplinary texts covering the visual arts and architecture, the humanities and the social sciences. (shrink)

South Asian English fiction, in recent decades, has significantly manifested its deepest concern for history and its relevance in the contemporary global scenario. The last couple of years have noticed the publication of many English novels by Indian and Pakistani authors that in fact belong to the very genre of postmodern historiographic metafiction. In fact, postmodern fiction writers usually deviate from the traditional representation of past events. The current study examines the way history writing is reconfigured in the (...) selected postmodern novel. In these novels, the writers retell the traditional history through innovative narrative techniques and multiplicity of the views that de-centralize the conventional history. The present research attempts to explore Amitav Gosh’s The Glass Palace and Kamila Shamsie’s Burnt Shadows as historiographic metafiction, that is a sub-genre of postmodern fiction. The study focuses on the selected texts to explore how these novels transform the traditional history through the incorporation of magic realism, intertextuality and self-reflexivity. This research is qualitative and descriptive, while the textual analysis has been used as a research method. The theoretical concept of Linda Hutcheon is incorporated in this current study that ends with findings and recommendations for future research. (shrink)

Explaining the emergence of the concept in history and how it looks at the past, this title is a guide to the meanings of postmodernism, showing its origins and ...

Philology is a term of wide application, designating at its most narrow the study of specific linguistic and textual features, at its most extensive what Gustav Gröber, in the Grundriβ der romanischen Philologie , called “the human spirit in language.” The distance between these definitions measures the literary medievalist's task: on the one hand to engage in the disinterested and often highly technical practices of medieval studies, on the other to produce results of general interest. These imperatives converge with a (...) slightly different but analogous dilemma, the relation of medieval studies to the human sciences as a whole. On the one hand, as the custodian of the formative history of the cultures of the European nation states, and as the agency by which the study of the national literatures first entered the academy in the nineteenth century, medieval studies has provided a model for cultural study. Yet in the current academic milieu, at least in the Anglo-American world, medieval studies is a marginalized institution. Most literary scholars and critics consider medieval texts to be utterly extraneous to their own interests, as at best irrelevant, at worst inconsequential; and they perceive the field itself as a site of pedantry and antiquarianism, a place to escape from the demands of modern intellectual life. (shrink)

Created during a certain time period of the world’s art development, fictional history embodies not only a set of individual authorial creative acts, but it is the only "artistic-historical model" conditioned by a number of objective aesthetic and non-aesthetic factors. As such, fictional history represents an integral part of the national worldview. Its exploration requires a combinatorial unity of methods. The article proposes a set of modern methodological principles for studying the processes of artistic modelling of history (...) in the aesthetic consciousness on the synchronous level and their representation in literary works. The methods of academic literary criticism are combined with the advanced methods of modern interdisciplinary humanities that are based on postmodern philosophy. Thus, in the chosen combination of the scientific approaches, the heuristic potential of the structural-semiotic and structural-typological methods, mythopoetics and myth-restoration, imagology, hermeneutics, and receptive aesthetics, correlates with the methods of systematic and descriptive analysis. Such diverse theoretical combinations, the existence of a kind of "methodological sinusoid" within the study, do not contradict but complement each other. (shrink)

How can we take history seriously as real and relevant? Despite the hazards of politically dangerous or misleading accounts of the past, we live our lives in a great network of cooperation with other actors; past, present, and future. We study and reflect on the past as a way of exercising a responsibility for shared action. In each of the chapters of Full History Smith poses a key question about history as a concern for conscious participants in (...) the sharing of action, starting with “What Is Historical Meaningfulness?” and ending with “How Can History Have an Aim?” Constructing new models of historical meaning while engaging critically with perspectives offered by Ranke, Dilthey, Rickert, Heidegger, Eliade, Sartre, Foucault, and Arendt, Smith develops a philosophical account of thinking about history that moves beyond postmodernist skepticism. Full History seeks to expand the cast of significant actors, establishing an inclusive version of the historical that recognizes large-scale cumulative actions but also encourages critical revision and expansion of any paradigm of shared action. (shrink)

"Ever since the explosion in relationships of power during the 1960s, the humanities have become a battlefield. What had previously been thought of as merely academic concerns have spilled over academic boundaries and attracted the attention of politicians, government officials, members of the media, and, ultimately, the general public. As a way of addressing this turmoil, Karlis Racevskis considers the legacy of the Enlightenment and revaluates modernity's claims for objective knowledge and the traditional model of reason. How relevant, he asks, (...) are the Enlightenment ideals of freedom, democracy, and equality in today's attempts to understand society and gauge the prospects for civilization? What responsibility can or should intellectuals assume in promoting Enlightenment values? What, in the end, constitutes a humanistic education?" "Drawing largely on the work of Foucault, Racevskis elucidates the philosophical and political problems at issue in the debate and the changes taking place in our ways of seeing ourselves and our relations with others. He shows how the theme of enlightenment has been a central component in the conflicts that pit modernists against postmodernists, Marxists against post-Marxists, and liberals against conservatives, and he juxtaposes the arguments in such a way as to place reason and enlightened action in a new perspective. One result of the upheaval, argues Racevskis, is a sense of renewed purpose and intensity in the study of the humanities that constitutes a fundamental reorientation in our ways of understanding society. Viewing the tension between the chaos of current theories and the comfort of traditional values, not with horror but with excitement, he suggests how postmodern criticism can be seen as a dynamic and promising development in the renewal and expansion of the liberal arts." "This wide-ranging book should have general appeal across a broad spectrum of disciplines-among them, literature and the arts, philosophy, social and political theory, and intellectual history."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

The book focuses on three interrelated issues: the relationship between modernism and postmodernism; visuality and visual culture; and the relation between the East (former European socialist countries) and the West as regards aesthetics, globalization, culture, and the mechanisms of the presentation and representation of contemporary visual art. In the first part the author reflects upon some of the less noticed issues of modernism and its dominant theoretical narratives regarding art: its privileging of truth and its obfuscation of some segments (...) of European art. One of his central tenets is that recent postsocialist politicized postmodern visual art contradicts Peter Bürger's canonical theory about the avant-garde art of the previous century. The art and culture discussed throughout this volume predominantly concern the visual. For this reason, in the second part visual culture and its uneasy relationship with art and art history are an object of reflection, a topic which is then complemented with that of the embodied eye in the philosophy of Merleau-Ponty. Photography, its relation to truth, and the problematic expectation that an ontology of photography is possible or necessary is the theme of the closing chapter of this part of the book. In the third part the author offers a global view on philosophy of art, visual culture, and the institutions that disseminate them. (shrink)

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

In the decade that followed 1972, the journal _boundary 2_ consistently published many of the most distinguished and most influential statements of an emerging literary postmodernism. Recognizing postmodernism as a dominant force in culture, particularly in the literary and narrative imagination, the journal appeared when literary critical study in the United States was in a period of theory-induced ferment. The fundamental relations between postmodernism and poststructuralism were being initially examined and the effort to formulate a critical sense (...) of the postmodern was underway. In this volume, Paul A. Bové, the current editor of _boundary 2_, has gathered many of those foundational essays and, as such, has assembled a basic text in the history of postmodernism. Essays by noted cultural and literary theorists join with Bové’s contemporary preface to represent the important and unique moment in recent intellectual history when postmodernism was no longer seen primarily as an architectural term, had not yet come to describe the wide range of culture it does now, but was finding power and place in the literary realm. These essays show that the history of postmodernism and its attendant critical theories are both more complex and more deeply bound with literary criticism than often is acknowledged today. _Early Postmodernism_ demonstrates not only the significance of these literary studies, but also the role played by literary critical postmodernism in making possible newer forms of critical and cultural studies. _Contributors_. Barry Alpert, Charles Altieri, David Antin, Harold Bloom, Paul A. Bové, Hélène Cixous, Gerald Gillespie, Ihab Hassan, Joseph N. Riddel, William, V. Spanos, Catharine R. Stimpson, Cornel West. (shrink)

This new Encyclopedia of Postmodernism is structured with biographical entries on all the key contributors to the postmodernism debate, including Mikhail Bakhtin, Pierre Bourdieum, Jacques Derrida, Jurgen Habermas and Wittgenstein. Providing an all-encompassing and welcome addition to the field, the Encyclopedia contains entries on foundational concepts of postmodernism which have revolutionized thinking in every intellectual discipline. This new Encyclopedia is the first to provide comprehensive A-Z coverage of the key individuals and concepts of postmodernism. The 300+ (...) entries include: * African American studies * Roland Barthes * binary opposition * Buddhism * comparative literature * cyberculture * death of God * Gilles Deleuze * desire * digital culture * end of history * globalization * grand narrative * improvisation * jouissance * logocentrism * metalanguage * sadism * theatre arts * trope * visuality * Cornell West * and much more. Fully cross-referenced and indexed, with suggestionsfor further reading. (shrink)

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

This interdisciplinary and systematic collection of essays explores pragmatism in relation to three key episodes in American culture: Progressivism, Positivism, and Postmodernism.

Zagorin presents a critique of F. R. Ankersmit's postmodernist philosophy of history as fallacious and opposed to some of the fundamental convictions and intuitions historians feel about their discipline. It questions Ankersmit's conclusion that the overproduction of historical writings and continuing generation of new interpretations has obliterated the past as an object of knowledge. It argues that Ankersmit's attempt, in accord with Hayden White, to aestheticize historiography and regard it as a linguistic construction indistinguishable from literature, must sever it (...) from its necessary grounding in reality and truth. It also rejects as groundless Ankersmit's claim to have deconstructed causality, and concludes that the postmodernist conception trivializes historiography and deprives it of its essential function in education and culture. (shrink)