On its publication in 1957, The Poverty of Historicism was hailed by Arthur Koestler as 'probably the only book published this year which will outlive the century.' A devastating criticism of fixed and predictable laws in history, Popper dedicated the book to all those 'who fell victim to the fascist and communist belief in Inexorable Laws of Historical Destiny.' Short and beautifully written, it has inspired generations of readers, intellectuals and policy makers. One of the most important books on the social sciences since the Second World War, it is a searing insight into the ideas of this great thinker.

"In this volume, Ernst Troeltsch embraces historical relativity while rejecting historical relativism, and thereby provides a model for the philosophy of history. The volume remains as relevant as it was in 1923"--

"Histories and Fallacies is a primer on the conceptual and methodological problems in the discipline of history."--from publisher description.

What does it mean to call something “contemporary”? More than simply denoting what’s new, it speaks to how we come to know the present we’re living in and how we develop a shared story about it. The story of trying to understand the present is an integral, yet often unnoticed, part of the literature and film of our moment. In Contemporary Drift, Theodore Martin argues that the contemporary is not just a historical period but also a conceptual problem, and he claims that contemporary genre fiction offers a much-needed resource for resolving that problem. Contemporary Drift combines a theoretical focus on the challenge of conceptualizing the present with a historical account of contemporary literature and film. Emphasizing both the difficulty and the necessity of historicizing the contemporary, the book explores how recent works of fiction depict life in an age of global capitalism, postindustrialism, and climate change. Through new histories of the novel of manners, film noir, the Western, detective fiction, and the postapocalyptic novel, Martin shows how the problem of the contemporary preoccupies a wide range of novelists and filmmakers, including Zadie Smith, Colson Whitehead, Vikram Chandra, China Miéville, Kelly Reichardt, and the Coen brothers. Martin argues that genre provides these artists with a formal strategy for understanding both the content and the concept of the contemporary. Genre writing, with its mix of old and new, brings to light the complicated process by which we make sense of our present and determine what belongs to our time.

Why we learn the wrong things from narrative history, and how our love for stories is hard-wired. To understand something, you need to know its history. Right? Wrong, says Alex Rosenberg in How History Gets Things Wrong. Feeling especially well-informed after reading a book of popular history on the best-seller list? Don't. Narrative history is always, always wrong. It's not just incomplete or inaccurate but deeply wrong, as wrong as Ptolemaic astronomy. We no longer believe that the earth is the center of the universe. Why do we still believe in historical narrative? Our attachment to history as a vehicle for understanding has a long Darwinian pedigree and a genetic basis. Our love of stories is hard-wired. Neuroscience reveals that human evolution shaped a tool useful for survival into a defective theory of human nature. Stories historians tell, Rosenberg continues, are not only wrong but harmful. Israel and Palestine, for example, have dueling narratives of dispossession that prevent one side from compromising with the other. Henry Kissinger applied lessons drawn from the Congress of Vienna to American foreign policy with disastrous results. Human evolution improved primate mind reading—the ability to anticipate the behavior of others, whether predators, prey, or cooperators—to get us to the top of the African food chain. Now, however, this hard-wired capacity makes us think we can understand history—what the Kaiser was thinking in 1914, why Hitler declared war on the United States—by uncovering the narratives of what happened and why. In fact, Rosenberg argues, we will only understand history if we don't make it into a story.

Ever since its first publication in 1992, the New York Times bestselling The End of History and the Last Man has provoked controversy and debate. "Profoundly realistic and important...supremely timely and cogent...the first book to fully fathom the depth and range of the changes now sweeping through the world." —The Washington Post Book World Francis Fukuyama's prescient analysis of religious fundamentalism, politics, scientific progress, ethical codes, and war is as essential for a world fighting fundamentalist terrorists as it was for the end of the Cold War. Now updated with a new afterword, The End of History and the Last Man is a modern classic.

This is a translation of Ernst Troeltsch's last (1923) major work. It is an exhaustive study of the methods of historiography and of German, French, English, and Italian philosophies of history during the nineteenth century. It is motivated by the purpose of developing the proper concept of historical development, for overcoming "bad" historicism (i.e., unlimited relativism) with "good" historicism (with relativity, not relativism), and determining how values drawn from history can be used to shape the future. It concludes with a sketch of the unwritten second volume on the material philosophy of history.

Ernst Troeltsch is widely recognized as having played an important role in the development of modern Protestant theology, but his contribution is usually understood as largely critical of traditional modes of theological inquiry. He is best known for his historicist critique of dogmatic theology, and seen either as the closing chapter of nineteenth-century liberalism, or as a proto-postmodernist. Central to this pivotal period in modern theology stands the problem: how can we articulate a doctrine of ultimate reality such that a meaningful and coherent account of the world is available without our understanding of God thereby becoming conditioned by the world itself? Evan Kuehn demonstrates that historiographical assumptions about twentieth-century religious thought have obscured the coherence and relevance of Troeltsch's understanding of God, history, and eschatology. An eschatological understanding of the Absolute, Kuehn contends, stands at the heart of Troeltsch's theology and the problem of historicism with which it is faced. Troeltsch's eschatological Absolute must be understood in the context of questions that were being raised at the turn of the twentieth century both by research on New Testament apocalypticism, and by modern critical methodologies in the historical sciences. His theory of the Absolute is central to his views on religion and religious ethics and provides practitioners of constructive studies in religion with important resources for engaging with sociological and historical studies, where Troeltsch's status as a classical figure is widely recognized.

Reinhart Koselleck is one of the most important theorists of history and historiography of the last half century. He is the foremost exponent and practitioner of Begriffsgeschichte, a methodology of historical studies exemplified in these 18 essays, which focus on the invention and development of the fundamental concepts underlying and informing a distinctively historical manner of being in the world.