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Inventing counterfactual histories is a common pastime of modern day historians, both amateur and professional. We speculate about an America ruled by Jefferson Davis, a Europe that never threw off Hitler, or a second term for JFK. These narratives are often written off as politically inspired fantasy or as pop culture fodder, but in Telling It Like It Wasn't, Catherine Gallagher takes the history of counterfactual history seriously, pinning it down as an object of dispassionate study. She doesn't take a moral or normative stand on the practice, but focuses her attention on how it works and to what ends-a quest that takes readers on a fascinating tour of literary and historical criticism. Gallagher locates the origins of contemporary counterfactual history in eighteenth-century Europe, where the idea of other possible historical worlds first took hold in philosophical disputes about Providence before being repurposed by military theorists as a tool for improving the art of war. In the next century, counterfactualism became a legal device for deciding liability, and lengthy alternate-history fictions appeared, illustrating struggles for historical justice. These early motivations-for philosophical understanding, military improvement, and historical justice-are still evident today in our fondness for counterfactual tales. Alternate histories of the Civil War and WWII abound, but here, Gallagher shows how the counterfactual habit of replaying the recent past often shapes our understanding of the actual events themselves. The counterfactual mode lets us continue to envision our future by reconsidering the range of previous alternatives. Throughout this engaging and eye-opening book, Gallagher encourages readers to ask important questions about our obsession with counterfactual history and the roots of our tendency to ask "What if...?"
Imaginary histories. --- Alternative histories (Fiction) --- Counterfactuals (Logic) --- History and criticism. --- alternate history. --- alternate-history fiction. --- counterfactual history. --- counterfactuality. --- fictionality. --- history and literature. --- national character.
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Que se serait-il passé si ? Les Grecs et les Romains de l'Antiquité ont répondu, les premiers, à cette interrogation, qui a donné naissance depuis le XIXe siècle au genre littéraire de l'uchronie, aujourd'hui très à la mode. Oui, que se serait-il passé si les Troyens avaient été vainqueurs, si Athènes l'avait emporté sur Sparte, si Alexandre le Grand s'était élancé contre l'Italie et Rome, si Démosthène avait été écouté, si Pompée et Caton avaient gagné la guerre civile, si César n'avait pas été assassiné, si Germanicus avait régné ? Comme on le verra ici, les Anciens se sont posé ces questions et bien d'autres encore, et ils ont cherché à y répondre avec toutes les ressources que leur offraient le raisonnement philosophique et politique, l'art poétique, l'éloquence, l'écriture de l'histoire. Découvrir la diversité et la richesse de ces histoires alternatives explorées par les Anciens, c'est s'interroger avec eux sur la tension fondamentale qui existera toujours entre la force du destin et la liberté humaine.
Histoire ancienne --- Uchronies --- Antiquities --- Alternate history --- Alternative histories (Fiction) --- Literature and history --- History, Ancient --- History, Ancient, in literature. --- Uchronie (Genre littéraire) --- Littérature et histoire --- Histoire ancienne dans la littérature --- Historiography. --- Historiographie --- Histoire ancienne. --- Uchronies. --- Antiquities - Congresses --- Alternate history - Congresses
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Inventing counterfactual histories is a common pastime of modern day historians, both amateur and professional. We speculate about an America ruled by Jefferson Davis, a Europe that never threw off Hitler, or a second term for JFK. These narratives are often written off as politically inspired fantasy or as pop culture fodder, but in Telling It Like It Wasn't, Catherine Gallagher takes the history of counterfactual history seriously, pinning it down as an object of dispassionate study. She doesn't take a moral or normative stand on the practice, but focuses her attention on how it works and to what ends-a quest that takes readers on a fascinating tour of literary and historical criticism. Gallagher locates the origins of contemporary counterfactual history in eighteenth-century Europe, where the idea of other possible historical worlds first took hold in philosophical disputes about Providence before being repurposed by military theorists as a tool for improving the art of war. In the next century, counterfactualism became a legal device for deciding liability, and lengthy alternate-history fictions appeared, illustrating struggles for historical justice. These early motivations-for philosophical understanding, military improvement, and historical justice-are still evident today in our fondness for counterfactual tales. Alternate histories of the Civil War and WWII abound, but here, Gallagher shows how the counterfactual habit of replaying the recent past often shapes our understanding of the actual events themselves. The counterfactual mode lets us continue to envision our future by reconsidering the range of previous alternatives. Throughout this engaging and eye-opening book, Gallagher encourages readers to ask important questions about our obsession with counterfactual history and the roots of our tendency to ask "What if...?"
Alternative histories (Fiction) --- Alternative histories (Fiction). --- Counterfactuals (Logic). --- Imaginary histories --- Imaginary histories. --- History and criticism. --- History. --- Fiction --- History as a science --- Psychological study of literature --- Counterfactuals (Logic) --- alternate history. --- alternate-history fiction. --- counterfactual history. --- counterfactuality. --- fictionality. --- history and literature. --- national character.
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Counterfactuality is currently a hotly debated topic. While for some disciplines such as linguistics, cognitive science, or psychology counterfactual scenarios have been an important object of study for quite a while, counterfactual thinking has in recent years emerged as a method of study for other disciplines, most notably the social sciences. This volume provides an overview of the current definitions and uses of the concept of counterfactuality in philosophy, historiography, political sciences, psychology, linguistics, physics, and literary studies. The individual contributions not only engage the controversies that the deployment of counterfactual thinking as a method still generates, they also highlight the concept's potential to promote interdisciplinary exchange without neglecting the limitations and pitfalls of such a project. Moreover, the essays from literary studies, which make up about half of the volume, provide both a historical and a systematic perspective on the manifold ways in which counterfactual scenarios can be incorporated into and deployed in literary texts.
Counterfactuals (Logic) --- Philosophy --- Knowledge, Theory of. --- Reality in literature. --- Epistemology --- Theory of knowledge --- Psychology --- Mental philosophy --- Humanities --- Contrary-to-fact conditional --- Counterfactual conditionals --- Conditionals (Logic) --- Logic --- Social aspects. --- Alternate History. --- Counterfactuality. --- Thought Experiments. --- What-if Scenarios.
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The increasingly popular genre of "alternative histories" has captivated audiences by asking questions like "what if the South had won the Civil War?" Such speculation can be instructive, heighten our interest in a topic, and shed light on accepted history. In The Holocaust Averted, Jeffrey Gurock imagines what might have happened to the Jewish community in the United States if the Holocaust had never occurred and forces readers to contemplate how the road to acceptance and empowerment for today's American Jews could have been harder than it actually was. Based on reasonable alternatives grounded in what is known of the time, places, and participants, Gurock presents a concise narrative of his imagined war-time saga and the events that followed Hitler's military failures. While German Jews did suffer under Nazism, the millions of Jews in Eastern Europe survived and were able to maintain their communities. Since few people were concerned with the safety of European Jews, Zionism never became popular in the United States and social antisemitism kept Jews on the margins of society. By the late 1960s, American Jewish communities were far from vibrant. This alternate history-where, among many scenarios, Hitler is assassinated, Japan does not bomb Pearl Harbor, and Franklin Delano Roosevelt is succeeded after two terms by Robert A. Taft-does cause us to review and better appreciate history. As Gurock tells his tale, he concludes every chapter with a short section that describes what actually happened and, thus, further educates the reader.
Jews --- Zionism --- Israel and the diaspora. --- Arab-Israeli conflict --- Zionist movement --- Jewish nationalism --- Israel-Arab conflicts --- Israel-Palestine conflict --- Israeli-Arab conflict --- Israeli-Palestinian conflict --- Jewish-Arab relations --- Palestine-Israel conflict --- Palestine problem (1948- ) --- Palestinian-Israeli conflict --- Palestinian Arabs --- Jewish diaspora --- Politics and government --- History --- Attitudes toward Israel. --- Identity. --- Influence. --- Restoration --- Attitudes toward Israel --- United States --- holocaust, american jew, jewish studies, jewry, new york jews, hitler, world war 2, ww2, WWII, jewish history, alternate history, extermination, germany.
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In Mock Classicism Nilo Couret presents an alternate history of Latin American cinema that traces the popularity and cultural significance of film comedies as responses to modernization and the forerunners to a more explicitly political New Latin American Cinema of the 1960s. By examining the linguistic play of comedians such as Cantinflas, Oscarito and Grande Otelo, Niní Marshall, and Luis Sandrini, the author demonstrates aspects of Latin American comedy that operate via embodiment on one hand and spatiotemporal emplacement on the other. Taken together, these parallel examples of comedic practice demonstrate how Latin American film comedies produce a ";critically proximate"; spectator who is capable of perceiving and organizing space and time differently. Combining close readings of films, archival research, film theory, and Latin American history, Mock Classicism rethinks classicism as a discourse that mediates and renders the world and argues that Latin American cinema became classical in distinct ways from Hollywood.
Motion pictures --- Motion picture actors and actresses --- Comedy films --- Comedy videos --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Film actors --- Film stars --- Motion picture stars --- Movie stars --- Moving-picture actors and actresses --- Stars, Movie --- Actors --- Actresses --- Production and direction --- History --- History and criticism --- 1960s. --- alternate history. --- archival research. --- cantinflas oscarito. --- comedians. --- comedic practice. --- cultural significance. --- embodiment. --- film comedies. --- film theory. --- films. --- grande otelo. --- latin america. --- latin american cinema. --- latin american history. --- linguistic play. --- luis sandrini. --- modernization. --- new latin american cinema. --- nini marshall. --- popularity. --- spatiotemporal emplacement.
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