Because school history often relies on reading and writing and has its own discipline-specific challenges, it is important to understand the language demands of this content area, the typical writing requirements, and the language expectations of historical discourse. History uses language is specialized ways, so it can be challenging for students to construct responses to historical events. It is only through a focus on these specialized ways of presenting and constructing historical content that students will see how language is used to construe particular contexts. This book provides the results of a qualitative study that investigated the language resources that 8th and 11th grade students drew on to write an exposition and considered the role of writing in school history. The study combined a functional linguistic analysis of student writing with educational considerations in the underresearched content area of history. Data set consisted of writing done by students who were English language learners and other culturally and linguistically diverse students from two school districts in California. The book is an investigation of expository school history writing and teachers’ expectations for this type of writing. School history writing refers to the kind of historical writing expected of students at the pre-college levels.
The Essential Guide to Writing History Essays is a step-by-step guide to the typical assignments of any undergraduate or master's-level history program in North America. Effective writing is a process of discovery, achieved through the continual act of making choices--what to include or exclude, how to order elements, and which style to choose--each according to the author's goals and the intended audience. The book integrates reading and specialized vocabulary with writing and revision and addresses the evolving nature of digital media while teaching the terms and logic of traditional sources and the reasons for citation as well as the styles. This approach to writing not only helps students produce an effective final product and build from writing simple, short essays to completing a full research thesis, it also teaches students why and how an essay is effective, empowering them to approach new writing challenges with the freedom to find their own voice.
The End of Diversity in Art Historical Writing is the most globally informed book on world art history, drawing on research in 76 countries. In addition some chapters have been crowd sourced: posted on the internet for comments, which have been incorporated into the text. It covers the principal accounts of Eurocentrism, center and margins, circulations and atlases of art, decolonial theory, incommensurate cultures, the origins and dissemination of the "October" model, problems of access to resources, models of multiple modernisms, and the emergence of English as the de facto lingua franca of art writing.
In Trying Biology, Adam R. Shapiro convincingly dispels many conventional assumptions about the 1925 Scopes “monkey” trial. Most view it as an event driven primarily by a conflict between science and religion. Countering this, Shapiro shows the importance of timing: the Scopes trial occurred at a crucial moment in the history of biology textbook publishing, education reform in Tennessee, and progressive school reform across the country. He places the trial in this broad context—alongside American Protestant antievolution sentiment—and in doing so sheds new light on the trial and the historical relationship of science and religion in America. For the first time we see how religious objections to evolution became a prevailing concern to the American textbook industry even before the Scopes trial began. Shapiro explores both the development of biology textbooks leading up to the trial and the ways in which the textbook industry created new books and presented them as “responses” to the trial. Today, the controversy continues over textbook warning labels, making Shapiro’s study—particularly as it plays out in one of America’s most famous trials—an original contribution to a timely discussion.
In academia, the traditional role of the humanities is being questioned by the “posts”—postmodernism, poststructuralism, and postfeminism—which means that the project of writing history only grows more complex. In History as a Kind of Writing, scholar of French literature and culture Philippe Carrard speaks to this complexity by focusing the lens on the current state of French historiography. Carrard’s work here is expansive—examining the conventions historians draw on to produce their texts and casting light on views put forward by literary theorists, theorists of history, and historians themselves. Ranging from discussions of lengthy dissertations on 1960s social and economic history to a more contemporary focus on events, actors, memory, and culture, the book digs deep into the how of history. How do historians arrange their data into narratives? What strategies do they employ to justify the validity of their descriptions? Are actors given their own voice? Along the way, Carrard also readdresses questions fundamental to the field, including its necessary membership in the narrative genre, the presumed objectivity of historiographic writing, and the place of history as a science, distinct from the natural and theoretical sciences.
Historical film has been an important genre since the earliest silent films. The French Revolution, the American Civil War, the conquest of the New World, World War II--all have been repeatedly represented in film. But how do we distinguish between fictionalized spectacle and authentic historical representation? Writing History in Film sets out the narratological, semiological, rhetorical, and philosophical bases for understanding how film can function as a form of historical interpretation and representation. With case studies and an interdisciplinary approach, William Guynn examines the key issues facing film students and scholars, historians, and anyone interested in how we see our historical past.
Writing History in the Digital Age began as a “what-if” experiment by posing a question: How have Internet technologies influenced how historians think, teach, author, and publish? To illustrate their answer, the contributors agreed to share the stages of their book-in-progress as it was constructed on the public web. To facilitate this innovative volume, editors Jack Dougherty and Kristen Nawrotzki designed a born-digital, open-access, and open peer review process to capture commentary from appointed experts and general readers. A customized WordPress plug-in allowed audiences to add page- and paragraph-level comments to the manuscript, transforming it into a socially networked text. The initial six-week proposal phase generated over 250 comments, and the subsequent eight-week public review of full drafts drew 942 additional comments from readers across different parts of the globe. The finished product now presents 20 essays from a wide array of notable scholars, each examining (and then breaking apart and reexamining) if and how digital and emergent technologies have changed the historical profession.
"Art does not produce the visible but makes visible," wrote Paul Klee. This work examines and reinterprets this important principle-- writing does not reproduce speech, it makes it visible-- through an in-depth history of writing across the globe, from ancient civilization to the modern day. "A History of Writing" analyzes the role of the image in writing from three perspectives: * Part one is devoted to the oldest, non-alphabetic methods of writing, and to the ingenious developments devised by civilizations that chose to adapt them to their language and culture: from the ancient development of cuneiform script in southern Mesopotamia, to the intricate ideographic scripts of China and Japan, or the still-to-be-deciphered rongo-rongo script of Easter Island. * Part two focuses on the history and dissemination of alphabets, examining the origins of the Western semitic alphabet and its "sister" Arabic alphabet script, through to the lesser-known scripts of the Caucasus or of sub-Saharan Africa. * Part three, finally, examines the reincorporation of imagery into the Western alphabet, looking at various hand-written and printed forms, from the sumptuous illuminations of the "Book of Kells" to the rise of printing and of typographic forms in modern times, leading to questions over how different writing systems are now adapting in a world that is increasingly dominated by computer technology. In total, fifty-eight lavishly illustrated chapters present detailed yet accessible commentaries from a team of leading specialists in the study of writing. Together they explain and clarify the birth, evolution, and dissemination of over thirty key scripts and alphabets and theirnumerous derivatives. The breadth and scope of material covered, along with the detailed sources of documentation provided, make "A History of Writing" an essential and exciting new contribution to existing scholarship on this fascinating subject. With contributions from: Michel Amandry, Jacques André , Pierre-Marc de Biasi, Catherine Bizot, Franç ois Bizot, Daniel Bouchez, Jean Boulè gue, Dominique Briquel, Claire Bustarret, Nina Catach, Dominique Charpin, Roger Chartier, Anne-Marie Christin, Cé cile Dauphin, Michel Davoust, Franç ois Dé roche, Franç ois-Xavier Dillmann, Catherine Dobias-Lalou, Jean-Piere Drè ge, Jean-Marie Durand, Bé atrice Fraenkel, Pascal Griolet, Michaë l Guichard, Bertrand Hirsch, Yves Jeanneret, Pierre-Yves Lambert, Daniè le Lavallé e, André Lemaire, Sé golè ne Le Men, Franç ois Lissarrague, Jean-Pierre Mahé , Henri-Jean Martin, Charles Mopsik, Nguyen Phu Phong, Jean-Pierre Olivier, Jennifer O'Reilly, Michel Parisse, Armando Petrucci, Jacqueline Pigeot, Georges-Jean Pinault, René Ponot, Annie Renonciat, Daniel Roche, Cé cile Sakai, Marianne Simon-Oikawa, Martine Simonin, Darwin Smith, Emmanuel Souchier, Jacqueline Sublet, Marc Thouvenot, Lé on Vandermeersch, Pascal Vernus, Vladimir Vodoff
Chosen by Choice Magazine as an Outstanding Academic Title Until recently, history writing has been understood as a male enclave from which women were restricted, particularly prior to the nineteenth century. The first book to look at British women writers and their contributions to historiography during the long eighteenth century, British Women Writers and the Writing of History, 1670-1820, asks why, rather than writing history that included their own sex, some women of this period chose to write the same kind of history as men—one that marginalized or excluded women altogether. But as Devoney Looser demonstrates, although British women's historically informed writings were not necessarily feminist or even female-focused, they were intimately involved in debates over and conversations about the genre of history. Looser investigates the careers of Lucy Hutchinson, Lady Mary Wortley Montagu, Charlotte Lennox, Catharine Macaulay, Hester Lynch Piozzi, and Jane Austen and shows how each of their contributions to historical discourse differed greatly as a result of political, historical, religious, class, and generic affiliations. Adding their contributions to accounts of early modern writing refutes the assumption that historiography was an exclusive men's club and that fiction was the only prose genre open to women.
