What has it meant to be a man in Canada? Alexander Ross, fur trader; Percy Nobbs, architect, fisherman, fencer; Andy Paull, residential school survivor and athlete; Yves Charbonneau, jazz musician and commune member; “James,” black and gay in postwar Windsor. Who were these men, and how did they identify as masculine? Populated with figures both well known and unknown, Making Men, Making History frames masculinity as a socially and historically constructed category of identity, susceptible to variation across time, place, and social context. This examination of historical Canadian masculinities reveals the dissonance between hegemonic ideals of manhood and masculinity and the everyday lives of men and boys. The volume showcases some of the best new work in masculinity studies. With an introduction that contextualizes the international origins of the field, Making Men, Making History is the first book to explore these themes entirely in Canadian historica settings.

"Making History" seeks systematically to address the problem, widely discussed by social scientists and historians, of the relative roles played by social structures and human agency in social change. Alex Callinicos has added an introduction to this new edition updating the argument of this influential book first published in 1987.

MAKING HISTORY is an epic exploration of who writes about the past and how the biases of certain storytellers - whether Julius Caesar, William Shakespeare or Simon Schama - continue to influence our ideas about history (and about who we are) today. In this authoritative and entertaining book, Richard Cohen reveals how professional historians and other equally significant witnesses (such as the writers of the Bible, major novelists, dramatists, journalists and political propagandists) influence what become the accepted records of human experience. Is there, he asks, even such a thing as 'objective' history? The depth of Cohen's inquiry and the delight he takes in his subjects includes the practitioners of what he calls 'Bad History,' those thieves of history who twist reality to glorify themselves and conceal their or their country's behaviour. Cohen investigates the published works and private utterances of our greatest historical thinkers to discover the agendas that informed their views of the world, and which in so many ways have informed ours. From the origins of history-writing, when such an idea seemed itself revolutionary, through to television and the digital age, MAKING HISTORY abounds in captivating figures brought to vivid life, from Thucydides and Tacitus to Voltaire and Gibbon, from Winston Churchill to Mary Beard. Rich in character, complex truths and surprising anecdotes, the result is a unique exploration of both the aims and craft of history-making. It will lead us to think anew about our past and ourselves.

Collects twelve previously unpublished essays by one of Britain's most eminent historians, David Cannadine, including his inaugural and valedictory lectures at the Institute of Historical Research. A unique volume discussing the study and nature of History itself and a range of key topics and periods in British and Imperial History.

Making History New explores how several British modernists (Joseph Conrad, Ford Madox Ford, and Rebecca West) applied the experimental methods of literary modernism to the writing of narrative history and historical novels.

Making History Move: Five Principles of the Historical Film consolidates decades of scholarship investigating history in visual culture in the fields of film and media, cultural studies, and history. The book develops insights across these fields, including philosophical considerations of film and history, to clarify the form and function of history in moving images. It addresses the implications of the historical film on public historical consciousness in a systematic way, presenting criteria for engaging and assessing the truth status of depictions of the past. Its chapters offer a detailed methodology for analyzing history in moving images for the digital age, proposing five principles of analysis to organize past and future scholarship in this vital, interdisciplinary field of study. Including films such as The Birth of a Nation, Gone with the Wind, Lawrence of Arabia, and Saving Private Ryan the book sets the stage to examine the most influential form of history with the most significant impact on public perceptions of the past.

Featuring the works from Marx's enormous corpus, this title covers Marx's development from the Hegelian idealism of his youth to the mature socialism of his later works. It includes writings from Marx's early philosophical works, and the central writings on historical materialism.

This collection of Robert Dawidoff's essays and journalism is peopled by the likes of the Founding Fathers, Fred Astaire, Henry and William James, Sophie Tucker, Trent Lott, and Cole Porter. Drawing together this unlikely cast of characters, Dawidoff probes into the role of outsider groups as well as intellectual and political elites in the formation of American culture. As a scholar of intellectual and cultural history, Dawidoff takes the stance that historians ought to take an active role in our democratic culture, informing and participating in public discourse. He argues for a broad reach when it comes to cultural expression, resisting the polarization of formal intellectual history and folk or commercial popular culture. In his view and in his book, Ralph Waldo Emerson and Katharine Hepburn are equally worthy topics for a historian's consideration, providing that they are treated with equal seriousness of purpose and analytic rigor. In "The Gay Nineties" section that closes the book, he traces key events in the continual struggle for gay and lesbian civil rights and takes on such unresolved issues as safer sex, needle exchange programs to control HIV transmission, and the public controversy around the portrayal of gay and lesbian television characters. Divided into sections that deal with the patriarchs of American political and intellectual culture, expressive culture, and a historian's public voice, this book is a model of engaged and engaging writing. Accessible and witty, Making History Matter will appeal to general and academic readers interested in American history as well as gay and lesbian political and cultural issues. Author note: Robert Dawidoff is John D. and Lillian Maguire Distinguished Chair and Professor of History at Claremont Graduate University. He is most recently the author (with Michael Nava) of Created Equal: Why Gay Rights Matter to America and The Genteel Tradition and the Sacred Rage: High Culture V. Democracy in Adams, James and Santayana.

Colonialism left an indelible mark on writers from the Caribbean. Many of the mid-century male writers, on the eve of independence, looked to England for their models. The current generation of authors, many of whom are women, have increasingly looked--and relocated--to the United States. Incorporating postcolonial theory, West Indian literature, feminist theory, and African American literary criticism, Making Men carves out a particular relationship between the Caribbean canon--as represented by C. L. R. James and V. S. Naipaul, among others--and contemporary Caribbean women writers such as Jean Rhys, and Jamaica Kincaid, Paule Marshall, and Michelle Cliff, who now live in the United States. Discussing the canonical Caribbean narrative as it reflects national identity under the domination of English cultural authority, Belinda Edmondson focuses particularly on the pervasive influence of Victorian sensibilities in the structuring of twentieth-century national identity. She shows that issues of race and English constructions of masculinity not only are central to West Indian identity but also connect Caribbean authorship to the English literary tradition. This perspective on the origins of West Indian literary nationalism then informs Edmondson's search for female subjectivity in current literature by West Indian women immigrants in America. Making Men compares the intellectual exile of men with the economic migration of women, linking the canonical male tradition to the writing of modern West Indian women and exploring how the latter write within and against the historical male paradigm in the continuing process of national definition. With theoretical claims that invite new discourse on English, Caribbean, and American ideas of exile, migration, race, gender identity, and literary authority, Making Men will be informative reading for those involved with postcolonial theory, African American and women's studies, and Caribbean literature.

David Carr outlines a distinctively phenomenological approach to history. Rather than asking what history is or how we know history, a phenomenology of history inquires into history as a phenomenon and into the experience of the historical. How does history present itself to us, how does it enter our lives, and what are the forms of experience in which it does so? History is usually associated with social existence and its past, and so Carr probes the experience of the social world and of its temporality. Experience in this context connotes not just observation but also involvement and interaction: We experience history not just in the social world around us but also in our own engagement with it. For several decades, philosophers' reflections on history have been dominated by two themes: representation and memory. Each is conceived as a relation to the past: representation can be of the past, and memory is by its nature of the past. On both of these accounts, history is separated by a gap from what it seeks to find or wants to know, and its activity is seen by philosophers as that of bridging this gap. This constitutes the problem to which the philosophy of history addresses itself: how does history bridge the gap which separates it from its object, the past? It is against this background that a phenomenological approach, based on the concept of experience, can be proposed as a means of solving this problem-or at least addressing it in a way that takes us beyond the notion of a gap between present and past.