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.

"More political than cultural in its emphasis, this enormously detailed, scholarly yet thoroughly readable book about modern Spain under Franco should fascinate any reader curious to know what changes have been wrought in that country in the past 30 years. Professor Herr (UCLA and Berkeley) has researched painstakingly and drawn a clear, authentic and meaningful portrait of Spain today as it is rapidly being transformed from an agrarian society to one now predominantly industrial."--Publishers Weekly "Professor Herr is also seeking the origins of modern Spain; his history is Aristotelian in that the end dominates the process. He seeks these origins in the later eighteenth century when the traditional order was perceived to be a bar to progress. A group of civil servants influenced by the European Enlightenment sought to bring Spain into Europe believing that industrial progress, education and agrarian reform would do the trick; but all their reforms were opposed by Catholic traditionalists. Hence the division into the 'two Spains.' Yet it is not the old crude version of two Spains, so often served up to explain everything from the failure of university reform to the Civil War, that Professor Herr plumps for. He sees the course of Spanish history explained by the rise and modification of the Moderado oligarchy. . . . he does throw out a lifeline in a sea of complexities and gives us the best short account of Franco Spain."--Spectator "This is a work of substantial interest and value which must be recommended as a well-balanced, readable, and scholarly introduction to a subject which has never ceased to be controversial and is still in the process of reinterpretation. . . .commands a high place among the general histories of Spain."--Journal of Modern History

This text helps students get beyond merely compiling dates and facts; it teaches them how to incorporate their own ideas into their papers and to tell a story about history that interests them and their peers. Covering brief essays and the documented resource paper, the text explores the writing and researching processes, different modes of historical writing (including argument), and offers guidelines for improving style as well as documenting sources. --From publisher's description.

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.

Originally published in 1948. In the first essay of this collection, Lovejoy reflects on the nature, methods, and difficulties of the historiography of ideas. He maps out recurring phenomena in the history of ideas, which the essays illustrate. One phenomenon is the presence and influence of the same presuppositions or other operative "ideas" in very diverse provinces of thought and in different periods. Another is the role of semantic transitions and confusions, of shifts and of ambiguities in the meanings of terms, in the history of thought and taste. A third phenomenon is the internal tensions or waverings in the mind of almost every individual writer—sometimes discernible even in a single writing or on a single page—arising from conflicting ideas or incongruous propensities of feeling or taste to which the writer is susceptible. These essays do not contribute to metaphysical and epistemological questions; they are primarily historical.

A portable and affordable reference tool, A Pocket Guide to Writing in History provides reading, writing, and research advice useful to students in all history courses. Concise yet comprehensive advice on approaching typical history assignments, developing critical reading skills, writing effective history papers, conducting research, using and documenting sources, and avoiding plagiarism -- enhanced with practical tips and examples throughout -- have made this slim reference a best-seller. Now in its sixth edition, the book offers more coverage of working with sources than ever before.

The first book to address the historical failures of philosophy—and what we can learn from them Philosophers are generally unaware of the failures of philosophy, recognizing only the failures of particular theories, which are then remedied with other theories. But, taking the long view, philosophy has actually collapsed several times, been abandoned, sometimes for centuries, and been replaced by something quite different. When it has been revived it has been with new aims that are often accompanied by implausible attempts to establish continuity with a perennial philosophical tradition. What do these failures tell us? The Failures of Philosophy presents a historical investigation of philosophy in the West, from the perspective of its most significant failures: attempts to provide an account of the good life, to establish philosophy as a discipline that can stand in judgment over other forms of thought, to set up philosophy as a theory of everything, and to construe it as a discipline that rationalizes the empirical and mathematical sciences. Stephen Gaukroger argues that these failures reveal more about philosophical inquiry and its ultimate point than its successes ever could. These failures illustrate how and why philosophical inquiry has been conceived and reconceived, why philosophy has been thought to bring distinctive skills to certain questions, and much more. An important and original account of philosophy’s serial breakdowns, The Failures of Philosophy ultimately shows how these shortcomings paradoxically reveal what matters most about the field.

The history of aesthetics, like the histories of other sciences, may be treated in a two-fold manner: as the history of the men who created the field of study, or as the history of the questions that have been raised and resolved in the course of its pursuit. The earlier History of Aesthetics (3 volumes, 1960-68, English-language edition 1970-74) by the author of the present book was a history of men, of writers and artists who in centuries past have spoken up concerning beauty and art, form and crea tivity. The present book returns to the same subject, but treats it in a different way: as the history of aesthetic questions, concepts, theories. The matter of the two books, the previous and the present, is in part the same; but only in part: for the earlier book ended with the 17th century, while the present one brings the subject up to our own times. And from the 18th century to the 20th much happened in aesthetics; it was only in that period that aesthetics achieved recognition as a separate science, received a name of its own, and produced theories that early scholars and artists had never dreamed of.