New edition of a study in which Karsh (Mediterranean Studies Programme at King's College, U. of London) takes issue with revisionist accounts of Israeli history. Through careful examination of the documentation they have used, as well as of sources that he believes were ignored, he suggests that for the most part the new historiography has violated every tenet of bona fide research, from reading into documents what is not there to making false descriptions of the contents of these documents. Annotation copyrighted by Book News, Inc., Portland, OR

Barton Friedman demonstrates the ways in which English men of letters in the nineteenth century attempted to grasp the dynamics of history and to fashion order, however fragile, out of its apparent chaos. The authors he discusses--Blake, Scott, Hazlitt, Carlyle, Dickens, and Hardy--found in the French Revolution an event more compelling as a paradigm of history than their own "Glorious Revolution." To them the French Revolution seemed universally significant--a microcosm, in short. For these writers maintaining the distinction between "history" and "fiction" was less important than making sense of epochal historical events in symbolic terms. Their works on the French Revolution and the Napoleonic Wars occupy the boundary between history and fiction, and Fabricating History advances the current lively discussion of that boundary. At the same time, this work explores questions about narrative strategies, as they are shaped by, or shape, events. Narratives incorporate the ideological and metaphysical preconceptions that the authors bring with them to their writing. "This is not to argue," Professor Friedman says, "that historical narratives are only about the mind manufacturing them or, more narrowly yet, about themselves as mere linguistic constructs. They illumine both the time and place they seek to re-create and, if by indirection, the time and place of the mind thinking them into being." Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This book explores the memory of the First Hungarian Soviet Republic of 1919, which proved crucial for communist Hungarian political culture in the twentieth century. Apor approaches the topic in an innovative way, focusing on the understudied aspects of European memory cultures. Offering great insights on how a dictatorship remembers and the concept of authenticity, Apor’s study integrates the broad range of processes through which history is sought to be rendered authentic. The volume successfully reveals the crooked history of the retrospective revisions of the iconic First Republic between the years of its 30th and 40th anniversary, 1949 and 1959.

Since its early days of mass production in the 1850s, the sewing machine has been intricately connected with the global development of capitalism. Andrew Gordon traces the machine’s remarkable journey into and throughout Japan, where it not only transformed manners of dress, but also helped change patterns of daily life, class structure, and the role of women. As he explores the selling, buying, and use of the sewing machine in the early to mid-twentieth century, Gordon finds that its history is a lens through which we can examine the modern transformation of daily life in Japan. Both as a tool of production and as an object of consumer desire, the sewing machine is entwined with the emergence and ascendance of the middle class, of the female consumer, and of the professional home manager as defining elements of Japanese modernity.

Traces how the German middle class created a unique form of domestic culture that fused consumption with high culture in fashionable forms of entertainment. Entertainment, defined as occasions for creating pleasure, added an important dimension to the lifestyle and self-definition of the German middle class around the turn of the nineteenth century. Modern forms of culture and consumption appearing around this time not only enhanced pleasure in physical sensations but also enabled imaginary sensations in the absence of actual stimuli. Desiring, rather than having, became an important mode of cultural consumption, linking products and practices with self-image, serving to express social identity in an increasingly more anonymous society--a society where the modern freedom of choice brought with it a loss of tradition and the stability attached to it. Fabricating Pleasure traces the creation of this unique form of domestic culture, showing how the bourgeoisie of late-eighteenth- and early-nineteenth-century Germany fused consumption with high culture. Author Karin Wurst illuminates the sociohistorical context and the emergence of the modern middle class, its differentiation, and its conception of culture. In her thoughtful analysis, Wurst reconstructs the roles of Empfindsamkeit (sensibility) and the new love paradigm, examining the change in mentality they fostered through the reconceptualization of pleasure and entertainment. The book also discusses the relationship between print culture (using Bertuch's Journal des Luxus und der Moden as its prime example) and an increase in social mobility. From art and music to fashion and travel, Wurst places these popular forms of entertainment and pleasurable diversion in their social and historical contexts and also shows how they have remarkable bearing on present-day debates on cultural literacy.

Barton Friedman demonstrates the ways in which English men of letters in the nineteenth century attempted to grasp the dynamics of history and to fashion order, however fragile, out of its apparent chaos. The authors he discusses--Blake, Scott, Hazlitt, Carlyle, Dickens, and Hardy--found in the French Revolution an event more compelling as a paradigm of history than their own "Glorious Revolution." To them the French Revolution seemed universally significant--a microcosm, in short. For these writers maintaining the distinction between "history" and "fiction" was less important than making sense of epochal historical events in symbolic terms. Their works on the French Revolution and the Napoleonic Wars occupy the boundary between history and fiction, and Fabricating History advances the current lively discussion of that boundary. At the same time, this work explores questions about narrative strategies, as they are shaped by, or shape, events. Narratives incorporate the ideological and metaphysical preconceptions that the authors bring with them to their writing. "This is not to argue," Professor Friedman says, "that historical narratives are only about the mind manufacturing them or, more narrowly yet, about themselves as mere linguistic constructs. They illumine both the time and place they seek to re-create and, if by indirection, the time and place of the mind thinking them into being." Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

DIVA study of the seamstresses of late 17th and 18th-century France, who developed a quintessentially feminine occupation that became a major factor in the urban economy./div