This volume introduces the early Christian ideas of history and history writing and shows their value for developing Christian communities of the patristic era. It examines the ways early Christians related and transmitted their history: apologetics, martyrdom accounts, sacred biography, and the genre of church history proper. The book shows that exploring the lives and writings of both men and women of the ancient church helps readers understand how Christian identity is rooted in the faithful work of preceding generations. It also offers a corrective to the individualistic and ahistorical tendencies within contemporary Christianity.

Edited by S. Jay Kleinberg, this volume investigates the role played by women in ancient, more recent and contemporary history and demonstrates that taking into account the activities of women radically alters the perspectives of historians.

This volume introduces the early Christian ideas of history and history writing and shows their value for developing Christian communities of the patristic era. It examines the ways early Christians related and transmitted their history: apologetics, martyrdom accounts, sacred biography, and the genre of church history proper. The book shows that exploring the lives and writings of both men and women of the ancient church helps readers understand how Christian identity is rooted in the faithful work of preceding generations. It also offers a corrective to the individualistic and ahistorical tendencies within contemporary Christianity.

Why we learn the wrong things from narrative history, and how our love for stories is hard-wired. To understand something, you need to know its history. Right? Wrong, says Alex Rosenberg in How History Gets Things Wrong. Feeling especially well-informed after reading a book of popular history on the best-seller list? Don't. Narrative history is always, always wrong. It's not just incomplete or inaccurate but deeply wrong, as wrong as Ptolemaic astronomy. We no longer believe that the earth is the center of the universe. Why do we still believe in historical narrative? Our attachment to history as a vehicle for understanding has a long Darwinian pedigree and a genetic basis. Our love of stories is hard-wired. Neuroscience reveals that human evolution shaped a tool useful for survival into a defective theory of human nature. Stories historians tell, Rosenberg continues, are not only wrong but harmful. Israel and Palestine, for example, have dueling narratives of dispossession that prevent one side from compromising with the other. Henry Kissinger applied lessons drawn from the Congress of Vienna to American foreign policy with disastrous results. Human evolution improved primate mind reading—the ability to anticipate the behavior of others, whether predators, prey, or cooperators—to get us to the top of the African food chain. Now, however, this hard-wired capacity makes us think we can understand history—what the Kaiser was thinking in 1914, why Hitler declared war on the United States—by uncovering the narratives of what happened and why. In fact, Rosenberg argues, we will only understand history if we don't make it into a story.

"[An] engrossing survey of the history of childbirth." —Stephen Lowman, Washington Post Making and having babies—what it takes to get pregnant, stay pregnant, and deliver—have mystified women and men throughout human history. The insatiably curious Randi Hutter Epstein journeys through history, fads, and fables, and to the fringe of science. Here is an entertaining must-read—an enlightening celebration of human life.

“Should be in the hands of every history teacher in the country.”— Howard Zinn James Loewen has revised Teaching What Really Happened, the bestselling, go-to resource for social studies and history teachers wishing to break away from standard textbook retellings of the past. In addition to updating the scholarship and anecdotes throughout, the second edition features a timely new chapter entitled "Truth" that addresses how traditional and social media can distort current events and the historical record. Helping students understand what really happened in the past will empower them to use history as a tool to argue for better policies in the present. Our society needs engaged citizens now more than ever, and this book offers teachers concrete ideas for getting students excited about history while also teaching them to read critically. It will specifically help teachers and students tackle important content areas, including Eurocentrism, the American Indian experience, and slavery. Book Features: An up-to-date assessment of the potential and pitfalls of U.S. and world history education. Information to help teachers expect, and get, good performance from students of all racial, ethnic, and socioeconomic backgrounds. Strategies for incorporating project-oriented self-learning, having students conduct online historical research, and teaching historiography. Ideas from teachers across the country who are empowering students by teaching what really happened. Specific chapters dedicated to five content topics usually taught poorly in today’s schools.

How do photojournalists get the pictures that bring us the action from the world's most dangerous places? How do picture editors decide which photos to scrap and which to feature on the front page? Find out in Get the Picture, a personal history of fifty years of photojournalism by one of the top journalists of the twentieth century. John G. Morris brought us many of the images that defined our era, from photos of the London air raids and the D-Day landing during World War II to the assassination of Robert Kennedy. He tells us the inside stories behind dozens of famous pictures like these, which are reproduced in this book, and provides intimate and revealing portraits of the men and women who shot them, including Robert Capa, Henri Cartier-Bresson, and W. Eugene Smith. A firm believer in the power of images to educate and persuade, Morris nevertheless warns of the tremendous threats posed to photojournalists today by increasingly chaotic wars and the growing commercialism in publishing, the siren song of money that leads editors to seek pictures that sell copies rather than those that can change the way we see the world.