In this book Peter Burke adopts a socio-cultural approach to examine the changes in the organization of knowledge in Europe from the invention of printing to the publication of the French Encyclopédie.
The book opens with an assessment of different sociologies of knowledge from Mannheim to Foucault and beyond, and goes on to discuss intellectuals as a social group and the social institutions (especially universities and academies) which encouraged or discouraged intellectual innovation. Then, in a series of separate chapters, Burke explores the geography, anthropology, politics and economics of knowledge, focusing on the role of cities, academies, states and markets in the process of gathering, classifying, spreading and sometimes concealing information. The final chapters deal with knowledge from the point of view of the individual reader, listener, viewer or consumer, including the problem of the reliability of knowledge discussed so vigorously in the seventeenth century.
One of the most original features of this book is its discussion of knowledges in the plural. It centres on printed knowledge, especially academic knowledge, but it treats the history of the knowledge 'explosion' which followed the invention of printing and the discovery of the world beyond Europe as a process of exchange or negotiation between different knowledges, such as male and female, theoretical and practical, high-status and low-status, and European and non-European.
Although written primarily as a contribution to social or socio-cultural history, this book will also be of interest to historians of science, sociologists, anthropologists, geographers and others in another age of information explosion.
This book provides a critical history of the movement associated with the journal Annales, from its foundation in 1929 to the present. This movement has been the single most important force in the development of what is sometimes called `the new history'.
Renowned cultural historian, Peter Burke, distinguishes between four main generations in the development of the Annales School. The first generation included Lucien Febvre and Marc Bloch, who fought against the old historical establishment and founded the journal Annales to encourage interdisciplinary collaboration. The second generation was dominated by Fernand Braudel, whose magnificent work on the Mediterranean has become a modern classic. The third generation, deeply associated with the `cultural turn' in historical scholarship, includes recently well-known historians such as Emmanuel Le Roy Ladurie, Jacques Le Goff and Georges Duby. This new edition brings us right up to the present, and contemplates the work of a fourth generation, including practitioners such as Roger Chartier, Serge Gruzinski and Jacques Revel. This new generation continued much of the cultural focus of the previous Annales historians, while diversifying further, and becoming increasingly `reflexive', a move that owes much to the sociocultural theories of Michel Foucault, Michel de Certeau and Pierre Bourdieu.
Wide-ranging yet concise, this new edition of a classic work of analysis of one of the most important historical movements of the twentieth century will be welcomed by students of history and other social sciences and by the interested general reader.
In this brilliant and widely acclaimed work, Peter Burke presents a social and cultural history of the Italian Renaissance. He discusses the social and political institutions which existed in Italy during the fifteenth and sixteenth centuries and analyses the ways of thinking and seeing which characterized this period of extraordinary artistic creativity. Developing a distinctive sociological approach, Peter Burke is concerned with not only the finished works of Michelangelo, Raphael, Leonardo da Vinci and others, but also with the social background, patterns of recruitment and means of subsistence of this `cultural elite'. New to this edition is a fully revised introduction focusing on what Burke terms `the domestic turn' in Renaissance studies and discussing the relation of the Renaissance to global trends. He thus makes a major contribution to our understanding of the Italian Renaissance, and to our comprehension of the complex relations between culture and society.
This thoroughly revised and updated third edition is richly illustrated throughout. It will have a wide appeal among historians, sociologists and anyone interested in one of the most creative periods of European history.
Peter Burke follows up his magisterial Social History of Knowledge, picking up where the first volume left off around 1750 at the publication of the French Encyclopédie and following the story through to Wikipedia. Like the previous volume, it offers a social history (or a retrospective sociology of knowledge) in the sense that it focuses not on individuals but on groups, institutions, collective practices and general trends. The book is divided into 3 parts. The first argues that activities which appear to be timeless - gathering knowledge, analysing, disseminating and employing it - are in fact time-bound and take different forms in different periods and places. The second part tries to counter the tendency to write a triumphalist history of the 'growth' of knowledge by discussing losses of knowledge and the price of specialization. The third part offers geographical, sociological and chronological overviews, contrasting the experience of centres and peripheries and arguing that each of the main trends of the period - professionalization, secularization, nationalization, democratization, etc, coexisted and interacted with its opposite. As ever, Peter Burke presents a breath-taking range of scholarship in prose of exemplary clarity and accessibility. This highly anticipated second volume will be essential reading across the humanities and social sciences.
The aim of this book is both to illustrate and to discuss some of the main varieties of cultural history which have emerged since the questioning of what might be called its "classic" form, exemplified in the work of Jacob Burckhardt and Johan Huizinga. Among the themes of individual chapters are the history of popular culture, the history of Carnival, the history of mentalities, the history of gestures, the history of jokes, and even the history of dreams. The emphasis of both the introduction and the case-studies which follow is on the variety of forms taken by cultural history today. The classic model has not been replaced by any new orthodoxy, despite the importance of approaches inspired by social and cultural anthropology. Variety is to be found in the cultures studied as well as among their historians. The case-studies included in the volume come not only from Europe (and in particular from Italy) but also from the New World, especially Brazil. Particular emphasis is placed on the importance of cultural encounters, cultural conflicts, and their consequences, whether these consequences should be described in terms of mixing, syncretism or synthesis. Written by one of the leading cultural historians in Europe today, this book will be of particular interest to students of early modern Europe, of the encounters between European culture and the New World, and to students and scholars interested in problems of historiography.
The Art of Conversation is a major contribution to the social history of language - a relatively new field which has become the focus of lively interdisciplinary debate in recent years. Drawing on the work of sociolinguists and others, Burke uses their concept while reserving the right to qualify their theories where the historical record makes this seem appropriate. Like the sociolinguists, Burke in concerned with the way language varies according to who is communicating to whom, on what occasion, in what medium and on what topic. Unlike many sociolinguists, Burke adds a historical dimension, treating language as an inseparable part of social history. This approach is outlined and justified in the first chapter and then exemplified in the remaining four, which deal with the early modern period. Among the topics discussed are the changing role of Latin, which is shown to be very much alive in the age of its alleged decline; language and identity in Italy, a politically divided region at the time but one where educated elites had a common language; the art of conversation, in other words the advice on speaking in polite company offered in hundreds of treaties of the period; and silence, viewed as an act of communication with a significance which changes over time and varies according to the setting and the persons who are silent. The Art of Conversation will be of great interest to students and scholars in social and cultural history, linguistics, the sociology of language and the ethnography of communication.
The period in which we live is marked by increasingly frequent and intense cultural encounters of all kinds. However we react to it, the global trend towards mixing or hybridization is impossible to miss, from curry and chips - recently voted the favourite dish in Britain - to Thai saunas, Zen Judaism, Nigerian Kung Fu, `Bollywood' films or salsa or reggae music. Some people celebrate these phenomena, whilst others fear or condemn them. No wonder, then, that theorists such as Homi Bhabha, Stuart Hall, Paul Gilroy, and Ien Ang, have engaged with hybridity in their work and sought to untangle these complex events and reactions; or that a variety of disciplines now devote increasing attention to the works of these theorists and to the processes of cultural encounter, contact, interaction, exchange and hybridization. In this concise book, leading historian Peter Burke considers these fascinating and contested phenomena, ranging over theories, practices, processes and events in a manner that is as wide-ranging and vibrant as the topic at hand.
From comic verse to practical jokes, pornography to satire, acting to acrobatics, the Renaissance witnessed the flowering of play in all its forms. In the first wide-ranging and accessible introduction to play in Renaissance Italy, Peter Burke, celebrated historian of the Italian Renaissance, synthesizes over forty years' research, explores the various forms of play in this period, and offers an overview that reveals the many connections between its different domains. While play could be rough, the Church played an increasing role in determining acceptable and unacceptable forms of play, and, after campaigns against violence and obscenity, much of the licentiousness characteristic of the early Renaissance was tamed. This entertaining study of play reveals much about the culture of Renaissance Italy, and illuminates an essential element in human life.
