front cover of In the Workshop of History
In the Workshop of History
François Furet
University of Chicago Press, 1985
Those concerned with the practice of history as a discipline and as an intellectual activity will be intrigued by the view of history that François Furet offers in this collection of essays. After twenty-five years as a professional historian at the Ecole des Hautes Etudes and in the ranks of the Annales school, Furet sets out to reexamine the methodological and intellectual cleavages that exist today among historians.

Furet views history as a field bounded at each end by two ideal types. One end is concerned with the history of periods and with the empiricism of "facts" rather than received ideas. At the other end is problem-oriented history, which substitutes for the supposed coherence of a "period" the analytical examination of a question. Furet's own work leans toward the second, more conceptually oriented kind of historiography. The essays in this volume, most of them never before published in English, illustrate the breadth of his approach. Furet's discussion ranges through Tocqueville's conceptual system to present-day America, from the origins of history in France to the Jewish experience in the late twentieth century. Among Furet's recurrent themes is the contention that the historian constructs the object or field of his research rather than receiving it from the past.
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front cover of The Italian Renaissance of Machines
The Italian Renaissance of Machines
Paolo Galluzzi
Harvard University Press, 2019

The Renaissance was not just a rebirth of the mind. It was also a new dawn for the machine.

When we celebrate the achievements of the Renaissance, we instinctively refer, above all, to its artistic and literary masterpieces. During the fifteenth and sixteenth centuries, however, the Italian peninsula was the stage of a no-less-impressive revival of technical knowledge and practice. In this rich and lavishly illustrated volume, Paolo Galluzzi guides readers through a singularly inventive period, capturing the fusion of artistry and engineering that spurred some of the Renaissance’s greatest technological breakthroughs.

Galluzzi traces the emergence of a new and important historical figure: the artist-engineer. In the medieval world, innovators remained anonymous. By the height of the fifteenth century, artist-engineers like Leonardo da Vinci were sought after by powerful patrons, generously remunerated, and exhibited in royal and noble courts. In an age that witnessed continuous wars, the robust expansion of trade and industry, and intense urbanization, these practitioners—with their multiple skills refined in the laboratory that was the Renaissance workshop—became catalysts for change. Renaissance masters were not only astoundingly creative but also championed a new concept of learning, characterized by observation, technical know-how, growing mathematical competence, and prowess at the draftsman’s table.

The Italian Renaissance of Machines enriches our appreciation for Taccola, Giovanni Fontana, and other masters of the quattrocento and reveals how da Vinci’s ambitious achievements paved the way for Galileo’s revolutionary mathematical science of mechanics.

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