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Additional info for A Companion to Dada and Surrealism (Blackwell Companions to Art History, Volume 10)
1 (1995), 129–52; on Germany, Ernst Wolfgang Becker, Zeit der Revolution! : Zeiterfahrungen in Deutschland in der Ära der Revolutionen 1789–1848/49 (Göttingen: Vandenhoeck und Ruprecht, 1999). 21. Quoted in Pim den Boer, History as a Profession: The Study of History in France, 1818–1914 (Princeton University Press, 1998), p. 124. 22. Antoine Berman, L’épreuve de l’étranger: culture et traduction dans l’Allemagne romantique (Paris: Gallimard, 1984). 23. Phillips, Society and Sentiment, p. 296. 24.
It might also be useful to distinguish two kinds of historian, respectively attracted by what is distant (both in space and in time) and by what is close. It might be unwise to assume that distance is either a simple help or hindrance to the historian, and more plausible to suggest that distance and distanciation carry both advantages and disadvantages. Take the case of the masterpiece of one of the great cultural historians of the twentieth century, Johan Huizinga. In my view at least, the religious chapters of his Autumn of the Middle Ages (1919) are weakened by the fact that the author (the son of a Protestant pastor) was so distant from beliefs and practices that, taking over the language of Erasmus and the Protestant reformers, he called them ‘mechanical’.
13. See Jennifer E. Berry, ‘The War-torn History of the Bayeux Tapestry’, MHQ: The Quarterly Journal of Military History 22, no. 2 (2010), 54 ; and Lucien Musset, The Bayeux Tapestry (Woodbridge, NY: Boydell Press, 2005). I owe this point to the work of my student, Pam Griffin-Hody. 14. Hayden White’s ad hominem remarks on Burckhardt’s ‘irony’ travel a similar path. 15. This is one of the ways in which my proposal differs from the elaborate machinery outlined in White’s Metahistory. 16. Laurel Thatcher Ulrich, A Midwife’s Tale: The Life of Martha Ballard, Based on Her Diary, 1785–1812 (New York: Vintage Books, 1990), p.
A Companion to Dada and Surrealism (Blackwell Companions to Art History, Volume 10)
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