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001 on1306218204;

003 OCoLC;

005 20230425160911.0;

008 220328s2023 nyu b 001 0 eng ;

010 a| 2022014173;

019 a| 1306215179;

020 a| 9780231203999;

020 a| 9780231203982q| hardcover;

020 a| 0231203985q| hardcover;

020 a| 0231203993q| trade paperback;

020 z| 9780231555319q| electronic book;

035 a| (Sirsi) o1306218204;

035 a| (OCoLC)1306218204z| (OCoLC)1306215179;

041 1 a| engh| fre;

042 a| pcc;

050 00 a| D13.2b| .T73513 2023;

082 00 a| 907.22| 23/eng/20220328;

100 1 a| Traverso, Enzo,e| author.=| ^A416998;

240 10 a| Pass̐ues singuliers.l| English=| ^A416998;

245 10 a| Singular pasts :b| the "I" in historiography /c| Enzo Traverso ; translated by Adam Schoene.;

264 1 a| New York :b| Columbia University Press,c| [2023];

300 a| 206 pages ;c| 23 cm;

336 a| textb| txt2| rdacontent;

337 a| unmediatedb| n2| rdamedia;

338 a| volumeb| nc2| rdacarrier;

504 a| Includes bibliographical references and index.;

505 0 a| Introduction -- Chapter 1: Writing in third person -- Chapter 2: The pitfalls of objectivity -- Chapter 3: Ego-history -- Chapter 4: Short inventory of "I" narratives -- Narrativizing the investigation -- Sociological intermezzo -- Chapter 5: Discourse on method -- Chapter 6: Models: history between film and literature -- Chapter 7: History and fiction -- Chapter 8: Presentism -- African American epilogue -- Acknowledgements.;

520 a| "The recent trend of autobiographies written by historians has resulted in a further shift to a new hybrid form of subjective history writing, which includes a significant autobiographical dimension, as if history could not be written without exhibiting the inner life of the author. Neither traditional history nor autobiography, this genre transgresses inherited traditions and puts into question a fundamental and generally accepted assumption of history writing: third-person narration, i.e., a nonsubjective reconstitution and interpretation of the past. The most visible dimension of this "subjectivist" turn, as seen particularly in works by Ivan Jablana and Philippe Artieres but also in Dominique Kalifa, described as a "passeur" for his ability to interject himself into the underworld in such books as Vice, Crime, and Poverty (Columbia, 2019), and Mark Mazower, especially in What You Did Not Tell: A Russian Past and the Journey Home (Other Press, 2017), which combines European history with the history of his own family, is a literary inflection that, without blurring the conventional distinction between history and fiction, globally reconfigures their relationship by injecting into the former many stylistic codes-first of all, first-person narrative-that traditionally belong to the latter. Therefore, a symbiotic in relationship emerges: whereas novels are increasingly obsessed with their historical verisimilitude-W.G. Sebald, JonathLittell, Javier Cercas-historical inquiries are built and told as stories, with individual heroes and thrilling plots. This expansion of the "self" posits some fundamental questions related not only to the epistemological status of writing history in the first person but also to the meaning of truth for both history and literature. Ultimately, it raises equally relevant questions about the world we live in, since this "subjectivist" turn is connected to a cultural transformation of our time that greatly transcends the boundaries of a single discipline. It results from "presentism"-a perception and a representation of time closed into the present--the past static, melancholic, the future devoid of an emancipatory vision-which is the neoliberal regime of historicity. Neoliberal reason is much more than a governing principle of global capitalism: it is an anthropological habitus, an ethos, and a form of life--private, apolitical, individualist. While subjectivism has given us rich horizons of multiple I's and different scalar views of microhistory, Traverso argues that we cannot lose sight of the collective story that is made of and by us and is the arena of political and social transformation"--c| Provided by publisher.;

650 0 a| Historiography.=| ^A5774;

650 0 a| Autobiography.=| ^A24893;

650 0 a| First person narrative.=| ^A131283;

650 0 a| Self in literature.=| ^A94192;

650 0 a| History in literature.=| ^A56524;

650 0 a| Subjectivity.=| ^A52818;

650 0 a| Subjectivity in literature.=| ^A176749;

650 0 a| Objectivity.=| ^A39095;

650 0 a| Objectivity in literature.=| ^A326518;

650 2 a| Autobiographies as Topic0| (DNLM)D001325=| ^A943876;

650 7 a| autobiography (genre)2| aat0| (CStmoGRI)aat300026049;

650 7 a| Autobiography.2| fast0| (OCoLC)fst00822597;

650 7 a| First person narrative.2| fast0| (OCoLC)fst00925781;

650 7 a| Historiography.2| fast0| (OCoLC)fst00958221;

650 7 a| History in literature.2| fast0| (OCoLC)fst00958338;

650 7 a| Objectivity.2| fast0| (OCoLC)fst01042815;

650 7 a| Objectivity in literature.2| fast0| (OCoLC)fst01042817;

650 7 a| Self in literature.2| fast0| (OCoLC)fst01111462;

650 7 a| Subjectivity.2| fast0| (OCoLC)fst01136568;

650 7 a| Subjectivity in literature.2| fast0| (OCoLC)fst01136579;

700 1 a| Schoene, Adam,e| translator.=| ^A1453241;

765 0 a| Traverso, Enzo.t| Pass̐ues singuliers : le "je" dans l'̐uecriture de l'histoired| Montr̐ueal, Qc : Lux ̐uEditeur, [2020];

776 08 i| Online version:a| Traverso, Enzo.t| Singular pastsd| New York : Columbia University Press, 2023z| 9780231555319w| (DLC) 2022014174;

949 a| Order on Demandw| ASISh| JOYNER219;

960 o| 1s| 28.00u| JHISz| USD;

961 f| DMDm| 138099;

596 a| 1;

998 a| 5962052;

999 a| ORDER ON DEMANDw| ASISc| 1i| 5962052-1001l| JYBPDDAPm| JOYNERr| Ys| Yt| JYBPDDAPUu| 3/13/2023;

Singular pasts : the "I" in historiography / Enzo Traverso ; translated by Adam Schoene.

Author/creator	Traverso, Enzo author.
Other author	Schoene, Adam, translator.
Format	Book
Publication	New York : Columbia University Press, [2023]
Description	206 pages ; 23 cm
Subjects	Historiography. Autobiography. First person narrative. Self in literature. History in literature. Subjectivity. Subjectivity in literature. Objectivity. Objectivity in literature. Autobiographies as Topic

Uniform title	Pass̐ues singuliers. English
Contents	Introduction -- Chapter 1: Writing in third person -- Chapter 2: The pitfalls of objectivity -- Chapter 3: Ego-history -- Chapter 4: Short inventory of "I" narratives -- Narrativizing the investigation -- Sociological intermezzo -- Chapter 5: Discourse on method -- Chapter 6: Models: history between film and literature -- Chapter 7: History and fiction -- Chapter 8: Presentism -- African American epilogue -- Acknowledgements.
Abstract	"The recent trend of autobiographies written by historians has resulted in a further shift to a new hybrid form of subjective history writing, which includes a significant autobiographical dimension, as if history could not be written without exhibiting the inner life of the author. Neither traditional history nor autobiography, this genre transgresses inherited traditions and puts into question a fundamental and generally accepted assumption of history writing: third-person narration, i.e., a nonsubjective reconstitution and interpretation of the past. The most visible dimension of this "subjectivist" turn, as seen particularly in works by Ivan Jablana and Philippe Artieres but also in Dominique Kalifa, described as a "passeur" for his ability to interject himself into the underworld in such books as Vice, Crime, and Poverty (Columbia, 2019), and Mark Mazower, especially in What You Did Not Tell: A Russian Past and the Journey Home (Other Press, 2017), which combines European history with the history of his own family, is a literary inflection that, without blurring the conventional distinction between history and fiction, globally reconfigures their relationship by injecting into the former many stylistic codes-first of all, first-person narrative-that traditionally belong to the latter. Therefore, a symbiotic in relationship emerges: whereas novels are increasingly obsessed with their historical verisimilitude-W.G. Sebald, JonathLittell, Javier Cercas-historical inquiries are built and told as stories, with individual heroes and thrilling plots. This expansion of the "self" posits some fundamental questions related not only to the epistemological status of writing history in the first person but also to the meaning of truth for both history and literature. Ultimately, it raises equally relevant questions about the world we live in, since this "subjectivist" turn is connected to a cultural transformation of our time that greatly transcends the boundaries of a single discipline. It results from "presentism"-a perception and a representation of time closed into the present--the past static, melancholic, the future devoid of an emancipatory vision-which is the neoliberal regime of historicity. Neoliberal reason is much more than a governing principle of global capitalism: it is an anthropological habitus, an ethos, and a form of life--private, apolitical, individualist. While subjectivism has given us rich horizons of multiple I's and different scalar views of microhistory, Traverso argues that we cannot lose sight of the collective story that is made of and by us and is the arena of political and social transformation"-- Provided by publisher.
Bibliography note	Includes bibliographical references and index.
Translation of	Traverso, Enzo. Pass̐ues singuliers : le "je" dans l'̐uecriture de l'histoire Montr̐ueal, Qc : Lux ̐uEditeur, [2020]
Issued in other form	Online version: Traverso, Enzo. Singular pasts New York : Columbia University Press, 2023 9780231555319
LCCN	2022014173
ISBN	9780231203999
ISBN	9780231203982 hardcover
ISBN	0231203985 hardcover
ISBN	0231203993 trade paperback
ISBN	electronic book

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