Literature As History

Literature as History represents a unique way to rethink history. Mario T. García, a leader in the field of Chicano history and one of the foremost historians of his generation, explores how Chicano historians can use Chicano and Latino literature as important historical sources.

Literature as History presents a selection of specially commissioned essays by a range of key contemporary thinkers on the interdisciplinary study of literature and history. The unifying theme is the interrelationship between literary / cultural production and its historical moment. The essays in the collection are astute and exciting in terms of their engagement with ever-changing developments in critical and theoretical practice while retaining an invaluable focus on familiar and engaging texts and authors. The contributors offer a reappraisal of the nature of literary studies today, looking back over the thirty-five years of Peter Widdowson's career - a career which has coincided with the emergence of, challenges to, and reformulations of critical theory - and ask what the future holds, particularly for the interdisciplinary ways of working which Widdowson pioneered. Bringing together distinguished scholars in the interdisciplinary study of English and History, it seizes the opportunity to take stock of the current field of literary studies and to ask searching questions about its future development.

Ivan Jablonka’s History Is a Contemporary Literature offers highly innovative perspectives on the writing of history, the relationship between literature and the social sciences, and the way that both social-scientific inquiry and literary explorations contribute to our understanding of the world. Jablonka argues that the act and art of writing, far from being an afterthought in the social sciences, should play a vital role in the production of knowledge in all stages of the researcher’s work and embody or even constitute the understanding obtained. History (along with sociology and anthropology) can, he contends, achieve both greater rigor and wider audiences by creating a literary experience through a broad spectrum of narrative modes. Challenging scholars to adopt investigative, testimonial, and other experimental writing techniques as a way of creating and sharing knowledge, Jablonka envisions a social science literature that will inspire readers to become actively engaged in understanding their own pasts and to relate their histories to the present day. Lamenting the specialization that has isolated the academy from the rest of society, History Is a Contemporary Literature aims to bring imagination and audacity into the practice of scholarship, drawing on the techniques of literature to strengthen the methods of the social sciences.

From The Epic of Gilgamesh to Harry Potter, this rollicking romp through the world of literature reveals how writings from all over the world can transport us and help us to make sense of what it means to be human.

These stories of trauma cannot be limited to the catastrophes they name, and the theory of catastrophic history may ultimately be written in a language that already lingers in a time that comes to us from the other side of the disaster.

Gossman (French, Princeton U.) illuminates the problematic relationship between history and literature, and shows how each discipline both challenges and undermines the other's absolutist pretensions. In particular, he address the essential historicity of literature and the essentially literary-textual nature of history through an inquiry into the work of the Romantic historians, especially Thierry and Michelet. Annotation copyrighted by Book News, Inc., Portland, OR

In Oscar Wilde's Chatterton, Joseph Bristow and Rebecca N. Mitchell explore Wilde's fascination with the eighteenth-century forger Thomas Chatterton, who tragically took his life at the age of seventeen. This innovative study combines a scholarly monograph with a textual edition of the extensive notes that Wilde took on the brilliant forger who inspired not only Coleridge, Wordsworth, and Keats but also Victorian artists and authors. Bristow and Mitchell argue that Wilde's substantial “Chatterton” notebook, which previous scholars have deemed a work of plagiarism, is central to his development as a gifted writer of criticism, drama, fiction, and poetry. This volume, which covers the whole span of Wilde's career, reveals that his research on Chatterton informs his deepest engagements with Romanticism, plagiarism, and forgery, especially in later works such as “The Portrait of Mr. W. H.,”The Picture of Dorian Gray, and The Importance of Being Earnest. Grounded in painstaking archival research that draws on previously undiscovered sources,Oscar Wilde's Chatterton explains why, in Wilde's personal canon of great writers (which included such figures as Charles Baudelaire, Gustave Flaubert, Théophile Gautier, and Dante Gabriel Rossetti), Chatterton stood as an equal in this most distinguished company.