Liberating Histories makes an original, scholarly contribution to contemporary debates surrounding the cultural and political relevance of historical practices. It is essential reading for students and scholars interested in historiography and the ethical and political dimensions of the historical discipline.
Liberating Histories makes an original, scholarly contribution to contemporary debates surrounding the cultural and political relevance of historical practices. It is essential reading for students and scholars interested in historiography and the ethical and political dimensions of the historical discipline.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Claire Norton is Reader at St Mary's University, London. She is interested in how forms of past-talk are used to imagine, legitimise and contest identities, political spaces, institutions and discourses. Her recent books include Plural Pasts: power, identity, and the Ottoman sieges of Nagykanizsa (2017) and Conversion and Islam in the Early Modern Mediterranean (2017). Mark Donnelly is Principal Lecturer at St Mary's University, London. He works in the fields of history theory, public history, memory and contemporary cultural politics. He co-edited Mad Dogs and Englishness: Popular Music and English Identities (2017), and co-wrote Doing History (2011) with Claire Norton.
Inhaltsangabe
Acknowledgements. Introduction: beyond discipline. Chapter one: Imprisoned by history: the archaeology of hegemony. Chapter two: Challenging historical authority: public art, (post)museums and activist film. Chapter three: The politics of making histories. Chapter four: Using the past in the present: nostalgia, memory and activism. Chapter five: Weapons of war: the power of the poster. Chapter six: Art and the power to disrupt. Chapter seven: Archives of resistance. Conclusion. Bibliography. Index
Acknowledgements. Introduction: beyond discipline. Chapter one: Imprisoned by history: the archaeology of hegemony. Chapter two: Challenging historical authority: public art, (post)museums and activist film. Chapter three: The politics of making histories. Chapter four: Using the past in the present: nostalgia, memory and activism. Chapter five: Weapons of war: the power of the poster. Chapter six: Art and the power to disrupt. Chapter seven: Archives of resistance. Conclusion. Bibliography. Index
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