Historiography Essay

How the Indian historiography has evolved from precolonial to post-colonial period? Over the three millenniums, India has developed opulent and complex layers of culture, since geographically India lies at crossroads of trading routes. From ancient times, people from diverse background and ethnicity came into India as traders and invaders via land as well as sea routes. They settled down here and, over the time, India assimilated them in its cultural and social mosaic. Also, India remained a home

Enlightenment historiography neglect history? Arthur Marwick in his Fundamentals of History suggests that when studying history it is important that there is a distinction made between History and The Past, the former referring to the knowledge produced by historians about the past together with the teaching of that knowledge. Marwick states that the latter is just ‘everything that actually happened, whether known, or written, about by historians or not’. Enlightenment historiography is particularly

What is Historiography? The study and analysis of historical writings, the method of analyzing a historical period based on the perspectives of historians to the event. What is “critical analysis” in history writing? To critically analyze an event one must read about all aspects of a historical event in order to fully understand that historical era. This is done by examining several primary source documents, as well as the perspectives of several historians. This way we are able to break down a

Historiography in a brief definition is the record of what is known about the past and a number of interpretations through scholarly criticism. It focuses on historical research as it is constantly changing. Most of the interpretations before the nineteen sixties dealt with politics. It is through socials movements that scholarly literature began to include social, cultural, racial, gender and countercultural histories. Many people that studied history interpreted it very differently and out of this

A much early historiography of Karnataka by Aluru Venkatarao also delineates on similar lines identifying the juncture of Battle of Talikota in 1565 as the time of decline of glory of Karnataka. In his 1917 work titled Karnataka Gatha Vaibhava , Aluru Venkata Rao writes thus: Having flourished for 230 years this glorious kingdom disappeared in half a minute by accident. It dies. That was the end of Karnataka’s glory. The kumkum was wiped off Karnatakadevi’s forehead! The mangalsutra round her

Historiography Historiography is a historical film theory that focuses on the assumptions, principles, and methodologies of historical study (Giannetti, 528). Giannetti divides this theoretical study into four different types of film history: aesthetic, technological, economic, and social. According to American scholar, Raymond Fielding, “the history of motion pictures—as an art form, as a medium of communication, and as an industry—has been determined principally by technological innovations” (Giannetti

up with an approach that does not treat historiographies as “History,” but as particular interpretations of history that can be used to multiply the number of observations to outnumber variables to make valid inferences: “if we treat our database as “historiography” or “histories” and not “History,” then the actual number of “cases” expands from the number of episodes to the number of accounts of those episodes”(Lusktick). The problems with historiographies is that, historians like many political

domestic historiography for over thirty years. This traditional approach is encapsulated in the theory of the ‘three rounds’ of the quasi-deliberate communist attempt to seize power by force of arms in 1943-1944, in December 1944 and in 1946-1949. The decade of the 1970s saw the emergence of a young generation of scholars who introduced a revisionist school of thought and marked a paradigm shift in the academic discourse on the 1940s. This generation, which continued to dominate the historiography of

“real” jazz encompassed, and more importantly, what “real” jazz did not encompass. This construction of authenticity, often demarcated along racial lines, served to relegate several artists and styles (those outside a “mainstream” to the margins of historiography. The issue of race is central to all discourses of jazz. Alongside race goes the problem of representation, or, who gets to play what for whom and under what circumstance. Problems of

introduced in the late nineteenth century and held in place by national origins quotas until 1965. The purpose of this historiography is to show how recent scholarship on immigration has developed and changed in the last fifteen years. This historiography is divided into three types of studies. The first is focused on how historians have extricated the individual from the broad historiography to give voice to specific ethnic groups as they negotiated for a place in the country.