Eyewitnessing evaluates the place of images among other kinds of historical evidence. By reviewing the many varieties of images by region, period and medium, and looking at the pragmatic uses of images (e.g. the Bayeux Tapestry, an engraving of a printing press, a reconstruction of a building), Peter Burke sheds light on our assumption that these practical uses are 'reflections' of specific historical meanings and influences. He also shows how this assumption can be problematic. Traditional art historians have depended on two types of analysis when dealing with visual imagery: iconography and iconology. Burke describes and evaluates these approaches, concluding that they are insufficient. Focusing instead on the medium as message and on the social contexts and uses of images, he discusses both religious images and political ones, also looking at images in advertising and as commodities. Ultimately, Burke's purpose is to show how iconographic and post-iconographic methods – psychoanalysis, semiotics, viewer response, deconstruction – are both useful and problematic to contemporary historians.

Invention of the Eyewitness: Witnessing and Testimony in Early Modern France

Filip Müller came to Auschwitz with one of the earliest transports from Slovakia in April 1942 and began working in the gassing installations and crematoria in May. He was still alive when the gassings ceased in November 1944. He saw millions come and disappear; by sheer luck he survived. Müller is neither a historian nor a psychologist; he is a source—one of the few prisoners who saw the Jewish people die and lived to tell about it. Eyewitness Auschwitz is one of the key documents of the Holocaust.

Renaissance military memoirs studied for what they reveal of contemporary attitudes towards war, selfhood and identity. This is a study of autobiographical writings of Renaissance soldiers. It outlines the ways in which they reflect Renaissance cultural, political and historical consciousness, with a particular focus on conceptions of war, history, selfhood and identity. A vivid picture of Renaissance military life and military mentality emerges, which sheds light on the attitude of Renaissance soldiers both towards contemporary historical developments such as the rise of the modern state, and towards such issues as comradeship, women, honor, violence, and death. Comparison with similar medieval and twentieth-century material highlights the differences in the Renaissance soldier's understanding of war and of human experience.

Eyewitness" is a familiar label that historians apply to numerous pieces of evidence. It carries compelling connotations of trustworthiness and particular proximity to the lived experience of historical actors. But it is a surprisingly little studied category of analysis. This book seeks to open up discussion of what we mean when we label a historical source in this way. Using as case studies histories about the Second, Third and Fourth Crusades, all of which were written by people caught up in the events they describe, it draws upon some of the lessons of narratology to argue that the most significant determinant of the eyewitness quality of texts such as these does not reside in what the authors as historical actors may or may not have seen, but in the terms in which they situate their narratorial personas within the storyworlds that their narratives call forth. Ultimately, historians must recognize that the eyewitness quality of histories such as these is a function of their textual effects, not the extra-textual circumstances of their authors.

Melissa Calaresu is the McKendrick Lecturer in History at Gonville and Caius College, University of Cambridge, UK. Filippo de Vivo is Senior Lecturer in Early Modern History at Birkbeck College, University of London, UK. Joan-Pau Rubies is Reader in International History at the London School of Economics and Political Science, UK.