George L. Mosse (1918-99) was one of the most influential cultural and intellectual historians of modern Europe. A refugee from Nazi Germany, he was an early leader in the study of fascism and the history of sexuality and masculinity, authoring more than two dozen books. In ContemporaryEurope in the Historical Imagination, an international assembly of leading scholars explore Mosse's enduring methodologies in German studies and modern European cultural history. Considering Mosse's life and work historically and critically, the book begins with his intellectual biography and goes on to reread his writings in light of historical developments since his death, and to use, extend, and contend with Mosse's legacy in new contexts he may not have addressed or even foreseen. The volume wrestles with intertwined questions that continue to emerge from Mosse's pioneering research, including: What role do sexual and racial stereotypes play in European political culture before and after 1945? How are gender and Nazi violence bound together? And what does commemoration reveal about national culture? Importantly, the contributors pose questions that are inspired by Mosse's work but that he did not directly examine. For example, to what extent were Nazism and Italian Fascism colonial projects? How have popular radical right parties reinforced and reimagined ethnonationalism and nativism? And how did Nazi perpetrators construct a moral system that accommodated genocide? Much like Mosse's own work, the chapters in this book inspire new interventions into the history of gender and sexuality, Jewish identity during the rise of the Third Reich, and the many reincarnations of fascist pageantry and mass politics.

Towards the end of the nineteenth century, Germany's bourgeois elites became enthralled by the civilization of Renaissance Italy. As their own country entered a phase of critical socioeconomic changes, German historians and writers reinvented the Italian Renaissance as the onset of a heroic modernity: a glorious dawn that ushered in an age of secular individualism, imbued with ruthless vitality and a neo-pagan zest for beauty. The Italian Renaissance in the German Historical Imagination is the first comprehensive account of the debates that shaped the German idea of the Renaissance in the seven decades following Jacob Burckhardt's seminal study of 1860. Based on a wealth of archival material and enhanced by more than one hundred illustrations, it provides a new perspective on the historical thought of Imperial and Weimar Germany, and the formation of a concept that is still with us today.

This penetrating analysis of eight classic nineteenth-century thinkers explains how historians use literary techniques to write sophisticated historical works. Since its initial publication in 1973, Hayden White's Metahistory has remained an essential book for understanding the nature of historical writing. In this classic work, White argues that a deep structural content lies beyond the surface level of historical texts. This latent poetic and linguistic content—which White dubs the "metahistorical element"—essentially serves as a paradigm for what an "appropriate" historical explanation should be. To support his thesis, White analyzes the complex writing styles of historians like Michelet, Ranke, Tocqueville, and Burckhardt, and philosophers of history such as Marx, Hegel, Nietzsche, and Croce. The first work in the history of historiography to concentrate on historical writing as writing, Metahistory sets out to deprive history of its status as a bedrock of factual truth, to redeem narrative as the substance of historicality, and to identify the extent to which any distinction between history and ideology on the basis of the presumed scientificity of the former is spurious. This fortieth-anniversary edition includes a new preface in which White explains his motivation for writing Metahistory and discusses how reactions to the book informed his later writing. In a new foreword, Michael S. Roth, a former student of White's and the current president of Wesleyan University, reflects on the significance of the book across a broad range of fields, including history, literary theory, and philosophy. This book will be of interest to anyone—in any discipline—who takes the past as a serious object of study.

The question of how to understand Bruegel’s art has cast the artist in various guises: as a moralizing satirist, comedic humanist, celebrator of vernacular traditions, and proto-ethnographer. Stephanie Porras reorients these apparently contradictory accounts, arguing that the debate about how to read Bruegel has obscured his pictures’ complex relation to time and history. Rather than viewing Bruegel’s art as simply illustrating the social realities of his day, Porras asserts that Bruegel was an artist deeply concerned with the past. In playing with the boundaries of the familiar and the foreign, history and the present, Bruegel’s images engaged with the fraught question of Netherlandish history in the years just prior to the Dutch Revolt, when imperial, religious, and national identities were increasingly drawn into tension. His pictorial style and his manipulation of traditional iconographies reveal the complex relations, unique to this moment, among classical antiquity, local history, and art history. An important reassessment of Renaissance attitudes toward history and of Renaissance humanism in the Low Countries, this volume traces the emergence of archaeological and anthropological practices in historical thinking, their intersections with artistic production, and the developing concept of local art history.

Since its invention by Renaissance humanists, the myth of the “Middle Ages” has held a uniquely important place in the Western historical imagination. Whether envisioned as an era of lost simplicity or a barbaric nightmare, the medieval past has always served as a mirror for modernity. This book gives an eye-opening account of the ways various political and intellectual projects—from nationalism to the discipline of anthropology—have appropriated the Middle Ages for their own ends. Deploying an interdisciplinary toolkit, author K. Patrick Fazioli grounds his analysis in contemporary struggles over power and identity in the Eastern Alps, while also considering the broader implications for scholarly research and public memory.

Innocence Abroad explores the encounter between the Netherlands and the New World in the sixteenth and seventeenth centuries.

What do we mean when we say that something is contemporary? And what should the designator contemporary art refer to? What constitutes the present present or the contemporary contemporary? Introductory Thoughts on Contemporaneity and Contemporary Art, the first book in the Contemporary Condition series, introduces key issues concerning contemporaneity as a defining condition of our historical present and calls for a deep rethinking of the structures of temporalization.