Across the humanities and the social sciences, disciplinary boundaries have come into question as scholars have acknowledged their common preoccupations with cultural phenomena ranging from rituals and ceremonies to texts and discourse. Literary critics, for example, have turned to history for a deepening of their notion of cultural products; some of them now read historical documents in the same way that they previously read "great" texts. Anthropologists have turned to the history of their own discipline in order to better understand the ways in which disciplinary authority was constructed. As historians have begun to participate in this ferment, they have moved away from their earlier focus on social theoretical models of historical development toward concepts taken from cultural anthropology and literary criticism. Much of the most exciting work in history recently has been affiliated with this wide-ranging effort to write history that is essentially a history of culture. The essays presented here provide an introduction to this movement within the discipline of history. The essays in Part One trace the influence of important models for the new cultural history, models ranging from the pathbreaking work of the French cultural critic Michel Foucault and the American anthropologist Clifford Geertz to the imaginative efforts of such contemporary historians as Natalie Davis and E. P. Thompson, as well as the more controversial theories of Hayden White and Dominick LaCapra. The essays in Part Two are exemplary of the most challenging and fruitful new work of historians in this genre, with topics as diverse as parades in 19th-century America, 16th-century Spanish texts, English medical writing, and the visual practices implied in Italian Renaissance frescoes. Beneath this diversity, however, it is possible to see the commonalities of the new cultural history as it takes shape. Students, teachers, and general readers interested in the future of history will find these essays stimulating and provocative.

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Praise for the previous editions: ..".well researched...concise...interesting..."--American Reference Books Annual

On the azure blue morning of 9/11 the skies were pronounced "severe clear," in the parlance of airline pilots; a gorgeous day for flying. Nearly 5,000 flights were cruising the skies over America when FAA Operations Manager Ben Sliney arrived at the Command Center for his first day on that job. He could never have anticipated the historic drama that was about to unfold as Americans who found themselves on the front lines of a totally unprecedented attack on our homeland sprang into action to defend our country and save lives. In this gripping moment-to-moment narrative, based on groundbreaking reporting, Lynn Spencer brings the inspiring true drama of their unflinching and heroic response vividly to life for the first time, taking us right inside the airliner cockpits and control towers, the fighter jets and the military battle cabs. She makes vital corrections to the findings of the 9/11 Commission Report, and reveals many startling, utterly unknown elements of the story. As a commercial pilot herself, for whom the attacks hit terribly close to home, she knew that the true scope and nature of the response so brilliantly improvised that morning by those in the thick of the action -- with so little guidance from those at the highest levels -- had not at all been captured by the news coverage or the 9/11 Commission. To get to the truth, she went on a three-year quest, interviewing hundreds of key players, listening to untold hours of tapes and pouring through voluminous transcripts to re-create each heart-stopping moment as it happened through their eyes and in their words as the drama unfolded. From the shocking moment at 7:59 a.m. that American 11 fails to respond to a controller's call, until the last commercial flight has safely landed and military jets rule the skies, all Americans will find themselves deeply moved and amazed by the grace and fierce determination of these steely men and women as they draw on all of their exquisite training to grasp, through the fog of war, what is happening, put their lives on the line, and mount an astonishing response. This beautifully crafted and deeply affecting account of the full story of their courageous actions is a vital addition to the country's understanding of a day that has forever changed our nation.

“A tour de force.”—Gordon S. Wood, New York Times Book Review How were human rights invented, and how does their tumultuous history influence their perception and our ability to protect them today? From Professor Lynn Hunt comes this extraordinary cultural and intellectual history, which traces the roots of human rights to the rejection of torture as a means for finding the truth. She demonstrates how ideas of human relationships portrayed in novels and art helped spread these new ideals and how human rights continue to be contested today.

In Hidden History, Lynn Rainville travels through the forgotten African American cemeteries of central Virginia to recover information crucial to the stories of the black families who lived and worked there for over two hundred years. The subjects of Rainville’s research are not statesmen or plantation elites; they are hidden residents, people who are typically underrepresented in historical research but whose stories are essential for a complete understanding of our national past. Rainville studied above-ground funerary remains in over 150 historic African American cemeteries to provide an overview of mortuary and funerary practices from the late eighteenth century to the end of the twentieth. Combining historical, anthropological, and archaeological perspectives, she analyzes documents—such as wills, obituaries, and letters—as well as gravestones and graveside offerings. Rainville’s findings shed light on family genealogies, the rise and fall of segregation, and attitudes toward religion and death. As many of these cemeteries are either endangered or already destroyed, the book includes a discussion on the challenges of preservation and how the reader may visit, and help preserve, these valuable cultural assets.

Struggling to support her family in mid-19th-century New York, writer Frances Osgood makes an unexpected connection with literary master Edgar Allan Poe and finds her survival complicated by her intense attraction to the writer and the scheming manipulations of his wife.

Poetry. HISTORY OF GONE is a collection of poems inspired by the life and unsolved disappearance of Barbara Newhall Follett, a once-famous child prodigy writer of the early 20th century. In the introduction, Schmeidler writes, "She's a woman we've never heard of destined to be the Next Great American Writer," who, by the age of 14 has published two books to glowing reviews. After a series of life-altering events (her father leaves; she and her mother set sail on an open-ended sea voyage; she falls in love), what begins as promise turns to uncertainty. "Because it's the Depression and she needs money. Because she's a woman. Because she's a writer. Because her editor father is no longer guiding her work into the hands of publishers. Because she falls in love. Because she travels, this time to Europe, this time with a man. Because she marries. Because she wants more, and also nothing more, than to be outside. Because all writing is in sand." All that is known of what happens is that one December night in 1939, after arguing with her husband, she leaves the house with a notebook and $30. She is never seen or heard from again. She is 25. "A daring conceptual feat of reanimated biography, HISTORY OF GONE arrives in its forms of oblique memorial drenched in lyric imagination: 'Everywhere you look there's a finger bone of some gone woman.' Schmeidler's rich lexicons frame intimate interior geographies--swoop and silhouette, beatitude and gingerbread, planets and wolfhounds--all the while replaying the 'stolen reel' of a forgotten life. As the lavish particulars unfold--a mouthbrooder, an anhinga, a purse dehisced--these poems invite charged questions about autonomy, creativity, and self-effacement: 'What kind of play is she in, 'finished by a death' or 'ended by a marriage'?' A cautionary tale of the erasures of domesticity, a vocational fable, an inside-out bildungsroman, this book envisions the prismatic possibilities when the self makes a 'clean sneak,' and the result is nothing short of levitation." --BK Fischer