Jaume Aurell – författare

This book deals with the way historical genres are theorized and practiced in the twenty-first century. In the context of the freedoms inspired by postmodernism and enabled by the development of innovative textual and graphic platforms, new theories of history view genres as flexible living forms that inspire more creative and experimental representations of the past. New ways of articulating history compete with the traditional model of historical prose. Acknowledging the current diversity in theories and practices, and assuming the historicity of historical genres, this book engages the reality of historical genres today and explores new directions in historical practice by examining these new forms of representing the past. Thus, without denying the validity of traditional and conventional forms of history (and arguing that these forms remain valid), this book surveys the production of what might be considered new historical genres practiced today, in which the idea of "practical past" is put in practice. Preceded by the introduction and two theoretical articles on historical genres, some of the new forms of history analysed in this book are: historical re-enactments, gaming history, social media, graphic narratives and first-person narratives of, memoirs of trauma, and film-history. This book was originally published as a special issue of Rethinking History.

E. H. Carr wrote, "study the historian before you begin to study the facts." This book approaches the life, work, ideas, debates, and the context of key 20th- and 21st-century historians through an analysis of their life writing projects viewed as historiographical sources. Merging literary studies on autobiography with theories of history, it provides a systematic and detailed analysis of the autobiographies of the most outstanding historians, from the classic texts by Giambattista Vico, Edward Gibbon and Henry Adams, to the Annales historians such as Fernand Braudel, Philippe Ariès and Georges Duby, to Marxist historians such as Eric Hobsbawm and Annie Kriegel, to postmodern historians such as Carolyn Steedman, Robert A. Rosenstone, Carlos Eire, Luisa Passerini, Elisabeth Roudinesco, Gerda Lerner and Sheila Fitzpatrick, and to "interventional" historians such as Geoff Eley, Jill Ker Conway, Natalie Davis and Gabrielle Spiegel. Using a comparative approach to these texts, this book identifies six historical-autobiographical styles: humanistic, biographic, ego-historical, monographic, postmodern, and interventional. By privileging historians' autobiographies, this book proposes a renewed history of historiography, one that engages the theoretical evolution of the discipline, the way history has been interpreted by historians, and the currents of thought and ideologies that have dominated and influenced its writing in the 20th and 21st centuries.

This Element analyses the autobiographies of historians from a global perspective and looks at all eras, from antiquity to the present day. It includes twenty autobiographies: Caesar's and Lucian of Samosata's memories in antiquity; an autobiography of a medieval king such as Peter IV of Aragon; Vico's, Gibbon's and Adams' intellectual self-accounting in modernity; autobiographical revelations and social activism of twentieth century women historians such as Carolyn Steedman, Jill Conway and Gerda Lerner; classical Chinese and Islamic traditions through the autobiographies of Sima Quian and Ibn Khaldun; the perplexities inherent in the modernisation of Japan (Fukuzawa Yukichi), China (Gu Jiegang), India (Nirad Chaudhuri) and Egypt (Taha Hussein); postmodernists such as Rosenstone; and traumatic postcolonial experiences in Africa (Bethwell Ogot), Latin America (Carlos Eire) and Southeast Asia (Wang Gungwu). This Element proposes a literary and historical approach to these autobiographies, emphasising its historiographical dimension and value.

What is a classic in historical writing? How do we explain the continued interest in certain historical texts, even when their accounts and interpretations of particular periods have been displaced or revised by newer generations of historians? How do these texts help to maintain the historiographical canon? Jaume Aurell's innovative study ranges from the heroic writings of ancient Greek historians such as Herodotus to the twentieth century microhistories of Carlo Ginzburg. The book explores how certain texts have been able to stand the test of time, gain their status as historiographical classics, and capture the imaginations of readers across generations. Investigating the processes of permanence and change in both historiography and history, Aurell further examines the creation of historical genres and canons. Taking influence from methodologies including sociology, literary criticism, theology, and postcolonial studies, What Is a Classic in History? encourages readers to re-evaluate their ideas of history and historiography alike.

What is a classic in historical writing? How do we explain the continued interest in certain historical texts, even when their accounts and interpretations of particular periods have been displaced or revised by newer generations of historians? How do these texts help to maintain the historiographical canon? Jaume Aurell's innovative study ranges from the heroic writings of ancient Greek historians such as Herodotus to the twentieth century microhistories of Carlo Ginzburg. The book explores how certain texts have been able to stand the test of time, gain their status as historiographical classics, and capture the imaginations of readers across generations. Investigating the processes of permanence and change in both historiography and history, Aurell further examines the creation of historical genres and canons. Taking influence from methodologies including sociology, literary criticism, theology, and postcolonial studies, What Is a Classic in History? encourages readers to re-evaluate their ideas of history and historiography alike.

This Element analyses the autobiographies of historians from a global perspective and looks at all eras, from antiquity to the present day. It includes twenty autobiographies: Caesar's and Lucian of Samosata's memories in antiquity; an autobiography of a medieval king such as Peter IV of Aragon; Vico's, Gibbon's and Adams' intellectual self-accounting in modernity; autobiographical revelations and social activism of twentieth century women historians such as Carolyn Steedman, Jill Conway and Gerda Lerner; classical Chinese and Islamic traditions through the autobiographies of Sima Quian and Ibn Khaldun; the perplexities inherent in the modernisation of Japan (Fukuzawa Yukichi), China (Gu Jiegang), India (Nirad Chaudhuri) and Egypt (Taha Hussein); postmodernists such as Rosenstone; and traumatic postcolonial experiences in Africa (Bethwell Ogot), Latin America (Carlos Eire) and Southeast Asia (Wang Gungwu). This Element proposes a literary and historical approach to these autobiographies, emphasising its historiographical dimension and value.

Based on narrative, iconographical, and liturgical sources, this is the first systematic study to trace the story of the ritual of royal self-coronations from Ancient Persia to the present. Exposing as myth the idea that Napoleon's act of self-coronation in 1804 was the first extraordinary event to break the secular tradition of kings being crowned by bishops, Jaume Aurell vividly demonstrates that self-coronations were not as transgressive or unconventional as has been imagined. Drawing on numerous examples of royal self-coronations, with a particular focus on European Kings of the Middle Ages, including Frederic II of Germany (1229), Alphonse XI of Castile (1328), Peter IV of Aragon (1332) and Charles III of Navarra (1390), Aurell draws on history, anthropology, ritual studies, liturgy and art history to explore royal self-coronations as privileged sites at which the frontiers and limits between the temporal and spiritual, politics and religion, tradition and innovation are encountered.

Based on narrative, iconographical, and liturgical sources, this is the first systematic study to trace the story of the ritual of royal self-coronations from Ancient Persia to the present. Exposing as myth the idea that Napoleon's act of self-coronation in 1804 was the first extraordinary event to break the secular tradition of kings being crowned by bishops, Jaume Aurell vividly demonstrates that self-coronations were not as transgressive or unconventional as has been imagined. Drawing on numerous examples of royal self-coronations, with a particular focus on European Kings of the Middle Ages, including Frederic II of Germany (1229), Alphonse XI of Castile (1328), Peter IV of Aragon (1332) and Charles III of Navarra (1390), Aurell draws on history, anthropology, ritual studies, liturgy and art history to explore royal self-coronations as privileged sites at which the frontiers and limits between the temporal and spiritual, politics and religion, tradition and innovation are encountered.

This book deals with the way historical genres are theorized and practiced in the twenty-first century. In the context of the freedoms inspired by postmodernism and enabled by the development of innovative textual and graphic platforms, new theories of history view genres as flexible living forms that inspire more creative and experimental representations of the past. New ways of articulating history compete with the traditional model of historical prose. Acknowledging the current diversity in theories and practices, and assuming the historicity of historical genres, this book engages the reality of historical genres today and explores new directions in historical practice by examining these new forms of representing the past. Thus, without denying the validity of traditional and conventional forms of history (and arguing that these forms remain valid), this book surveys the production of what might be considered new historical genres practiced today, in which the idea of "practical past" is put in practice. Preceded by the introduction and two theoretical articles on historical genres, some of the new forms of history analysed in this book are: historical re-enactments, gaming history, social media, graphic narratives and first-person narratives of, memoirs of trauma, and film-history. This book was originally published as a special issue of Rethinking History.

E. H. Carr wrote, "study the historian before you begin to study the facts." This book approaches the life, work, ideas, debates, and the context of key 20th- and 21st-century historians through an analysis of their life writing projects viewed as historiographical sources. Merging literary studies on autobiography with theories of history, it provides a systematic and detailed analysis of the autobiographies of the most outstanding historians, from the classic texts by Giambattista Vico, Edward Gibbon and Henry Adams, to the Annales historians such as Fernand Braudel, Philippe Ariès and Georges Duby, to Marxist historians such as Eric Hobsbawm and Annie Kriegel, to postmodern historians such as Carolyn Steedman, Robert A. Rosenstone, Carlos Eire, Luisa Passerini, Elisabeth Roudinesco, Gerda Lerner and Sheila Fitzpatrick, and to "interventional" historians such as Geoff Eley, Jill Ker Conway, Natalie Davis and Gabrielle Spiegel. Using a comparative approach to these texts, this book identifies six historical-autobiographical styles: humanistic, biographic, ego-historical, monographic, postmodern, and interventional. By privileging historians' autobiographies, this book proposes a renewed history of historiography, one that engages the theoretical evolution of the discipline, the way history has been interpreted by historians, and the currents of thought and ideologies that have dominated and influenced its writing in the 20th and 21st centuries.

Today, many readers could easily list thirty classic authors, or thirty classic works of art, literature, music, philosophy, or science. But would they be able to name thirty classic works of history? In spite of history's outsized influence in the world of ideas, the books that made - and-remade - the history we know so well are often forgotten. In this panoramic book, distinguished historian Jaume Aurell sets out to introduce readers to a new canon of historical writing. Taking a global approach, he places the work of Herodotus, Thucydides, Gibbon, Michelet and Braudel alongside masterpieces from a myriad of periods and civilizations, from Sima Qian, Anna Komnene, al-Masudi and Fukuzawa Yukichi to Edmundo O'Gorman, C. L. R. James and Natalie Zemon Davis. At the same time, Aurell argues that we should not see these books as a definitive canon - instead, any canon should be seen as a list-in-progress to be contested and debated anew with each generation. It is only by being exposed to these diverse and deeply significant works that we can fully perceive the shape of the discipline, and carve out a new appreciation for the art of history writing.

Today, many readers could easily list thirty classic authors, or thirty classic works of art, literature, music, philosophy, or science. But would they be able to name thirty classic works of history? In spite of history's outsized influence in the world of ideas, the books that made - and-remade - the history we know so well are often forgotten. In this panoramic book, distinguished historian Jaume Aurell sets out to introduce readers to a new canon of historical writing. Taking a global approach, he places the work of Herodotus, Thucydides, Gibbon, Michelet and Braudel alongside masterpieces from a myriad of periods and civilizations, from Sima Qian, Anna Komnene, al-Masudi and Fukuzawa Yukichi to Edmundo O'Gorman, C. L. R. James and Natalie Zemon Davis. At the same time, Aurell argues that we should not see these books as a definitive canon - instead, any canon should be seen as a list-in-progress to be contested and debated anew with each generation. It is only by being exposed to these diverse and deeply significant works that we can fully perceive the shape of the discipline, and carve out a new appreciation for the art of history writing.

Genealogies of the West presents a new look at the West by tracing the still-recognizable footprints of the past and reflecting on the present challenges it faces. Through a review of its rich and often controversial history, it recalls the genealogies of the plural processes, ideas, characters, and events that structure the West’s tradition and identity, and their presence nowadays. It shows the faces of the Modernity and its most relevant achievements—such as the state, capitalism, science, technology, ideologies, and enlightenments—and how they are being revised nowadays by postmodernity. This helps readers gain perspective, gives clues for understanding the complexities of the past, challenges some pre-assumed historical inaccuracies, identifies its weight and presence in the present, and projects these thoughts toward the future.