This book addresses a wide range of philosophical problems about history and the semantics of time. The point of departure is the distinction between events under the description of past witnesses and their contemporaries and events under the description of historians. Its main claim is that a thesis on the past is exemplified rather than being justified by the available evidence. Such thesis, the book argues, retroactively becomes concrete in the past under consideration. This book will not only appeal to philosophers and historians, but to students and scholars across the humanities.

This is an original and accessible introduction to the modern idea of history and its value, and an indispensable companion to the study of history and its philosophical underpinnings. The book answers two basic questions: What is history? And what is its value? It also shows how the answers to these questions are mutually dependent. The old view that history is the teacher of life, for instance, assumes that the past is a reservoir of examples from which moral lessons for the present can be drawn. The subjects discussed include history as the teacher of life, the need for truth and objectivity, the moral standards of the historian, realism and the value of historical insight, historical explanation and understanding, the intelligibility of the historical process, the tragedy of history, the politics of history-writing, and the close connection between history, narrative, and the desire for justice. These topics are discussed with the help of inspiring and influential historians and philosophers such as Thucydides, Ranke, Hegel, Nietzsche, Collingwood, Arendt, White, Hunt, and Ankersmit.These topics are discussed with the help of inspiring and influential historians and philosophers such as Thucydides, Ranke, Hegel, Nietzsche, Collingwood, Arendt, White, Hunt, and Ankersmit.

The experience of engaging with art and history has been utterly transformed by information and communications technology in recent decades. We now have virtual, mediated access to countless heritage collections and assemblages of artworks, which we intuitively browse and navigate in a way that wasn't possible until very recently. This collection of essays takes up the question of the cultural meaning of the information and communications technology that makes these new engagements possible, asking questions like: How should we theorise the sensory experience of art and heritage? What does information technology mean for the authority and ownership of heritage?