In this book, the noted intellectual historian Frank Ankersmit provides a systematic account of the problems of reference, truth, and meaning in historical writing. He works from the conviction that the historicist account of historical writing, associated primarily with Leopold von Ranke and Wilhelm von Humboldt, is essentially correct but that its original idealist and romanticist idiom needs to be translated into more modern terms. Rehabilitating historicism for the contemporary philosophy of history, he argues, "reveals the basic truths about the nature of the past itself, how we relate to it, and how we make sense of the past in historical writing." At the heart of Ankersmit's project is a sharp distinction between interpretation and representation. The historical text, he holds, is first and foremost a representation of some part of the past, not an interpretation. The book's central chapters address the concept of historical representation from the perspectives of reference, truth, and meaning. Ankersmit then goes on to discuss the possible role of experience in the history writing, which leads directly to a consideration of subjectivity and ethics in the historian's practice. Ankersmit concludes with a chapter on political history, which he maintains is the "basis and condition of all other variants of historical writing." Ankersmit's rehabilitation of historicism is a powerfully original and provocative contribution to the debate about the nature of historical writing.

Focusing on the notion of representation and on the necessity of distinguishing between representation and description, this book argues that the traditional semantic apparatus of meaning, truth, and reference that we use for description must be redefined if we are to understand properly the nature of historical writing.

What makes historical writing distinctive? In Representation, Franklin Rudolf Ankersmit—the preeminent figure in the philosophy of history today—offers a deeply original way of understanding the practice of historical writing and a powerful vindication of history as an empirical discipline. Based on a new reading of the philosophy of G. W. Leibniz, Ankersmit constructs a rigorous framework for understanding the nature of historical argument. Representation argues that while previous states of affairs have left evidence that can be used to formulate true statements, the past itself is irretrievably lost. A condition of historical writing is that the past as such does not exist. Historical texts are best understood as complex signs that mutually criticize one another to compose a historical reality fundamentally distinct from common-sense notions of the past. Representation casts an entirely new light on fundamental concepts such as historical truth, historical debate, and historical rationality. Cogent, forceful, and provocative, this book is the most ambitious work in the philosophy of history in many years.

Illustrating the Past is a study of the status of visual and verbal media in early modern English representations of the past. It focuses on general attitudes towards visual and verbal representations of history as well as specific illustrated books produced during the period. Through a close examination of the relationship of image to text in light of contemporary discussions of poetic and aesthetic practice, the book demonstrates that the struggle between the image and the word played a profoundly important role in England's emergent historical self-awareness. The opposition between history and story, fact and fiction, often tenuous, provided a sounding board for deeper conflicts over the form in which representations might best yield truth from history. The ensuing schism between poets and historians over the proper venue for the lessons of the past manifested itself on the pages of early modern printed books. The discussion focuses on the word and image relationships in several important illustrated books printed during the second half of the sixteenth century-including Holinshed's Chronicles (1577) and Foxe's Book of Martyrs (1563, 1570)-in the context of contemporary works on history and poetics, such as Sir Philip Sidney's Apology for Poetry and Thomas Blundeville's The true order and Method of wryting and reading Hystories. Illustrating the Past specifically answers two important questions concerning the resultant production of literary and historical texts in the period: Why did the use of images in printed histories suddenly become unpopular at the end of the sixteenth century? and What impact did this publishing trend have on writers of literary and historical texts?

Hayden White probes the notion of authority in art and literature and examines the problems of meaning—its production, distribution, and consumption—in different historical epochs. In the end, he suggests, the only meaning that history can have is the kind that a narrative imagination gives to it. The secret of the process by which consciousness invests history with meaning resides in "the content of the form," in the way our narrative capacities transform the present into a fulfillment of a past from which we would wish to have descended.

This collection of essays concentrates on the structures and connections which have made it possible, over the last two centuries, for an integrated regime of historical representation to emerge. It also touches upon the debate about the contemporary uses of history - whether it is a matter of new versus traditional approaches to the school curriculum, or of the need to historicize museums, houses and gardens and so avoid the blandness of an uninformed display.

Why are we interested in history at all? Why do we feel the need to distinguish between past and present? This book investigates how the notion of sublime historical experience complicates and challenges existing conceptions of language, truth, and knowledge.

In this book, the noted intellectual historian Frank Ankersmit provides a systematic account of the problems of reference, truth, and meaning in historical writing. He works from the conviction that the historicist account of historical writing, associated primarily with Leopold von Ranke and Wilhelm von Humboldt, is essentially correct but that its original idealist and romanticist idiom needs to be translated into more modern terms. Rehabilitating historicism for the contemporary philosophy of history, he argues, "reveals the basic truths about the nature of the past itself, how we relate to it, and how we make sense of the past in historical writing." At the heart of Ankersmit's project is a sharp distinction between interpretation and representation. The historical text, he holds, is first and foremost a representation of some part of the past, not an interpretation. The book's central chapters address the concept of historical representation from the perspectives of reference, truth, and meaning. Ankersmit then goes on to discuss the possible role of experience in the history writing, which leads directly to a consideration of subjectivity and ethics in the historian's practice. Ankersmit concludes with a chapter on political history, which he maintains is the "basis and condition of all other variants of historical writing." Ankersmit’s rehabilitation of historicism is a powerfully original and provocative contribution to the debate about the nature of historical writing.