Author | Hayden White |
---|---|
Country | United States |
Language | English |
Subject | Historiography |
Publisher | Johns Hopkins University |
Publication date | 1973 |
Media type | |
ISBN | 0-8018-1761-7 |
OCLC | 2438028 |
Metahistory: The Historical Imagination in Nineteenth-century Europe is a work of historiography by Hayden White first published in 1973. On the second page of his introduction, White stated:
My own analysis of the deep structure of the historical imagination of Nineteenth century Europe is intended to provide a new perspective on the current debate over the nature and function of historical knowledge. [1]
The theoretical framework is outlined in the first 50 pages of the book, which consider in detail eight major figures of 19th-century history and the philosophy of history. The larger context of historiography and writing in general is also considered. White's approach uses systematically a fourfold structural schema with two terms mediating between a pair of opposites.
According to White, historians begin their work by constituting a chronicle of events which is to be organized into a coherent story. These are the two preliminary steps before processing the material into a plot which is argumented as to express an ideology. Thus the historical work is "a verbal structure in the form of a narrative prose discourse that purports to be a model, or icon, of past structures and processes in the interest of explaining what they were by representing them". [2]
For the typologies of emplotment, argumentation and ideologies White refers to works by Northrop Frye, Stephen Pepper and Karl Mannheim. [3] His four basic emplotments are provided by the archetypical genres of romance, comedy, tragedy and satire. The modes of argumentation, following Pepper's 'adequate root metaphors' are formist, organist, mechanicist and contextualist. Among the main types of Ideology White adopts anarchy, conservatism, radicalism and liberalism. White affirms that elective affinities link the three different aspects of a work and only four combinations (out of 64) are without internal inconsistencies or 'tensions'. The limitation arises through a general mode of functioning - representation, reduction, integration or negation, which White assimilates to one of the four main tropes: metaphor, metonymy, synecdoche and irony. Structuralists as Roman Jakobson or Emile Benveniste have used mostly an opposition between the first two of them but White refers to an earlier classification, adopted by Giambattista Vico and contrasts metaphor with irony. [4] The exemplary figures chosen by White present the ideal types of historians and philosophers.
Trope | Mode | Emplotment | Argument | Ideology | Historian | Philosopher |
---|---|---|---|---|---|---|
Metaphor | Representational | Romance | Formist | Anarchist | Michelet | Nietzsche |
Metonymy | Reductionist | Tragedy | Mechanicist | Radical | Tocqueville | Marx |
Synecdoche | Integrative | Comedy | Organicist | Conservative | Ranke | Hegel |
Irony | Negational | Satire | Contextualist | Liberal | Burckhardt | Croce |
Frank Ankersmit has forcefully asserted the importance of Metahistory for the English speaking world. [5] In the view of Ankersmit and like-minded scholars, White's work has made obsolete the view of language as neutral medium in historiography and has provided a way to treat methodological issues at a level higher than elementary propositions and atomic facts. So, with it, "philosophy of history finally, belatedly, underwent its linguistic turn and became part of the contemporary intellectual scene." [6]
Norman Levitt has identified White as "the most magisterial spokesman" for relativist and postmodernist historiography, where "[w]hen one particular narrative prevails, the dirty work is invariably done by 'rhetoric', never evidence and logic, which are, in any case, simply sleight-of-language designations for one kind of rhetorical strategy". [7]
In his essay, entitled "Revisiting History in Hayden White's Philosophy," Mehdi Ghasemi refers to White's “Historical Fiction, Fictional History, and Historical Reality,” in which he writes “What we postmodernists are against is a professional historiography”. [8] This statement has inspired Ghasemi to reexamine a number of White's works from the perspective of postmodernism so as to find out in what ways and to what extent White is a postmodernist. In addition, in his essay, Ghasemi highlights a number of preoccupations of professional historiography and argues how White deploys the discourse of postmodernism to dismantle them. [9]
Be that as it may, it is unclear whether White himself would care to be closely identified with relativist and postmodernist schools of thought, given his sharp critiques of several key figures associated with those schools (not only postmodernism's outspoken official proponent, Jean-Francois Lyotard, but also—and more directly—certain unofficial poststructuralist exponents such as Michel Foucault, Roland Barthes and Jacques Derrida, whom White dubbed "absurdist critics"). [10] What is clear is that White was, at the very least, stimulated by the ideas of several of these figures, particularly Barthes (whom White honored in The Content of the Form with an epigraph ["Le fait n'a jamais qu'une existence linguistique"] and the rueful remark that Barthes has been "profoundly missed" since his death) and Foucault (with whose work White demonstrates intense engagement in the essay "Foucault's discourse: The Historiography of Anti-Humanism"). [11] Furthermore, White has denied the charge of relativism, averring that the reality of events in the past is not contradicted by literary portrayals of those events.
Along similar lines, White may also be regarded as a traditional moralist, inasmuch as he has asked of historical and fictional narrative, "[O]n what other grounds [than moralism] could a narrative of real events possibly conclude? […] What else could narrative closure consist of than the passage from one moral order to another?" [12]
For several of the reasons given above, White's ideas are somewhat controversial among academic historians, who have expressed both enthusiasm for and frustration with Metahistory. For instance, Arthur Marwick praised it as "a brilliant analysis of the rhetorical techniques of some famous early 19th-century historians ... [who wrote] well before the emergence of professional history." Yet in the very next breath Marwick complained that "White seems to have made very little acquaintanceship with what historians write today." [13]
Postmodernism is an intellectual stance or mode of discourse characterized by skepticism toward the "grand narratives" of modernism; rejection of epistemic certainty or the stability of meaning; and sensitivity to the role of ideology in maintaining political power. Claims to objectivity are dismissed as naïve realism, with attention drawn to the conditional nature of knowledge claims within particular historical, political, and cultural discourses. The postmodern outlook is characterized by self-referentiality, epistemological relativism, moral relativism, pluralism, irony, irreverence, and eclecticism; it rejects the "universal validity" of binary oppositions, stable identity, hierarchy, and categorization.
Postmodern philosophy is a philosophical movement that arose in the second half of the 20th century as a critical response to assumptions allegedly present in modernist philosophical ideas regarding culture, identity, history, or language that were developed during the 18th-century Age of Enlightenment. Postmodernist thinkers developed concepts like difference, repetition, trace, and hyperreality to subvert "grand narratives", univocity of being, and epistemic certainty. Postmodern philosophy questions the importance of power relationships, personalization, and discourse in the "construction" of truth and world views. Many postmodernists appear to deny that an objective reality exists, and appear to deny that there are objective moral values.
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Philosophy of history is the philosophical study of history and its discipline. The term was coined by the French philosopher Voltaire.
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"The Death of the Author" is a 1967 essay by the French literary critic and theorist Roland Barthes (1915–1980). Barthes's essay argues against traditional literary criticism's practice of relying on the intentions and biography of an author to definitively explain the "ultimate meaning" of a text. Instead, the essay emphasizes the primacy of each individual reader's interpretation of the work over any "definitive" meaning intended by the author, a process in which subtle or unnoticed characteristics may be drawn out for new insight. The essay's first English-language publication was in the American journal Aspen, no. 5–6 in 1967; the French debut was in the magazine Manteia, no. 5 (1968). The essay later appeared in an anthology of Barthes's essays, Image-Music-Text (1977), a book that also included his "From Work to Text".
Hayden V. White was an American historian in the tradition of literary criticism, perhaps most famous for his work Metahistory: The Historical Imagination in Nineteenth-Century Europe (1973/2014).
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Metahistorical romance is a term describing postmodern historical fiction, defined by Amy J. Elias in Sublime Desire: History and Post-1960s Fiction. Elias defines metahistorical romance as a form of historical fiction continuing the legacy of historical romance inaugurated by Sir Walter Scott but also having ties to contemporary postmodern historiography. A metahistorical romance does not merely use history for the setting and events of the novel, but forces the reader to reexamine history, and their own view of it. It accomplishes this by reinterpreting historical events, writing about ordinary people, crossing between various time periods, or bending history in other ways. In Elias's usage, romance does not signify novels focused on marriage and love, but instead a style in which past events are "romanticized" and reinterpreted.
Franklin Rudolf Ankersmit is professor of intellectual history and historical theory at the University of Groningen.
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