Surveying the latest research, this welcome second edition of Alun Munslow's successful Deconstructing History provides an excellent introduction to the debates and issues of postmodernist history. This new edition has been updated and revised and, along with the original discussion material and topics, now: assesses the claims of history as a form of 'truthful' explanation discusses the limits of conventional historical thinking and practice, and the responses of the 'new empiricists' to the book's central arguments examines the arrival of 'experimental history' and its implications clarifies the utility of addressing Michael Foucault and Hayden White, and strengthens the analysis of Frank R. Ankersmit's recent work. Along with an updated glossary, and a revised bibliography, this second edition will not only live up to its predecessor's reputation, but will surpass it as the most essential student resource for studying history and its practice.

This groundbreaking collection challenges the accepted principles and practices of sport history and encourages sport historians to be more adventurous in their representations of the sporting past in the present. Encompassing a wide range of critical approaches, leading international sport historians reflect on theory, practice, and the future of sport history. They survey the field of sport history since its inception, examine the principles that have governed the production of knowledge in sport history, and address the central concerns raised by the postmodern challenge to history. Sharing a common desire to critique contemporary practices in sport history, the contributors raise the level of critical analysis of the production of historical knowledge, provide examples of approaches by those who have struggled with or adapted to the postmodern challenge, and open up new avenues for future sport historians to follow.

King of the Cold War crisis film, Dr. Strangelove became a cultural touchstone from the moment of its release in 1964. The duck-and-cover generation saw it as a satire on nuclear issues and Cold War thinking. Subsequent generations, removed from the film's historical moment, came to view it as a quasi-documentary about an unfathomable secret world. Sean M. Maloney uses Dr. Strangelove and other genre classics like Fail Safe and The Bedford Incident to investigate a curious pop cultural contradiction. Nuclear crisis films repeatedly portrayed the failures of the Cold War's deterrent system. Yet the system worked. What does this inconsistency tell us about the genre? What does it tell us about the deterrent system, for that matter? Blending film analysis with Cold War history, Maloney looks at how the celluloid crises stack up against reality--or at least as much of reality as we can reconstruct from these films with confidence. The result is a daring intellectual foray that casts new light on Dr. Strangelove, one of the Cold War era's defining films.

The National Industrial Recovery Act (NIRA) was enacted by Congress in June of 1933 to assist the nation’s recovery during the Great Depression. Its passage ushered in a unique experiment in US economic history: under the NIRA, the federal government explicitly supported, and in some cases enforced, alliances within industries. Antitrust laws were suspended, and companies were required to agree upon industry-level “codes of fair competition” that regulated wages and hours and could implement anti-competitive provisions such as those fixing prices, establishing production quotas, and imposing restrictions on new productive capacity. The NIRA is generally viewed as a monolithic program, its dramatic and sweeping effects best measurable through a macroeconomic lens. In this pioneering book, however, Jason E. Taylor examines the act instead using microeconomic tools, probing the uneven implementation of the act’s codes and the radical heterogeneity of its impact across industries and time. Deconstructing the Monolith employs a mixture of archival and empirical research to enrich our understanding of how the program affected the behavior and well-being of workers and firms during the two years NIRA existed as well as in the period immediately following its demise.

The notion of 'history' has always been one strenuously debated by both academics and the wider population. This deeply provocative re-thinking of our engagement with the past by one of the world's leading post-modern historians takes that debate one step further. Alun Munslow re-assesses history in the light of post-modernism and other intellectual challenges which have questioned the primacy of the modernist epistemology of empiricism. In an original and stimulating vision of history that will intrigue all those seriously interested in the subject, Munslow argues that history is not only about the sources, but a literary construction. Munslow concludes that history, as a cultural narrative about the past can never tell us what the past really means. This far reaching conclusion is based on the radical idea that the content of history is defined as much by the nature of the language used to represent and interpret that content as it is by research into the sources. This suggests that history does not produce the most likely meaning of the past but rather can only generate alternative meanings. The lead volume in a major new series on historical thinking and practice, this is an accessible yet absorbing study that breaks new ground in discussing the stage history is at now, and perhaps most engagingly, the direction it will take in the future.

Deconstructing the Myths of Islamic Art addresses how researchers can challenge stereotypical notions of Islam and Islamic art while avoiding the creation of new myths and the encouragement of nationalistic and ethnic attitudes. Despite its Orientalist origins, the field of Islamic art has continued to evolve and shape our understanding of the various civilizations of Europe, Africa, Asia, and the Middle East. Situated in this field, this book addresses how universities, museums, and other educational institutions can continue to challenge stereotypical or homogeneous notions of Islam and Islamic art. It reviews subtle and overt mythologies through scholarly research, museum collections and exhibitions, classroom perspectives, and artists’ initiatives. This collaborative volume addresses a conspicuous and persistent gap in the literature, which can only be filled by recognizing and resolving persistent myths regarding Islamic art from diverse academic and professional perspectives. The book will be of interest to scholars working in art history, museum studies, visual culture, and Middle Eastern studies.

2006 North American Society for Sports History Book of the Year The literature on sport history is now well established, taking in a wide range of themes and covering every activity from aerobics to zorbing. However, in comparison to most mainstream histories, sport history has rarely been called upon to question its foundations and account for the basis of its historical knowledge. In this book, Booth offers a rigorous assessment of sport history as an academic discipline, exploring the ways in which professional historians can gather materials, construct and examine evidence, and present their arguments about the sporting past. Part 1 examines theories of knowledge, while Part 2 goes on to scrutinize the uses of historical knowledge in popular and academic studies of sport history. With clear structure, examples, summary tables and a detailed glossary, The Field provides students, teachers and researchers with an unparalleled resource to tackle issues fundamental to the future of their subject, and sets the agenda for the debate to come.