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Born in Martin, Tennessee, in 1928, White received his undergraduate degree from Wayne
State University in Michigan in 1951, his M.A. from the University of Michigan in 1952, and
his Ph.D. in 1956. He served as an instructor of history and later worked as an assistant
professor of history. A prominent American historian, White is known for his analysis of the
philosophers. White published an early essay, The Burden of History (1966), which raised
many of the questions about the discipline of history that would be the focus of his later
works. In 1973, White accepted a position as director for the Centre for the Humanities at
Wesleyan University in Connecticut, where he was named Kenan Professor from 1976 to
1978. While at Wesleyan, White produced his first major work, Metahistory, and continued
to publish essays about problems of historical knowledge and the relations between
history and literature in journals and edited volumes. In Metahistory (1973) , he presents a
detailed outline for the study of the different narrative and rhetorical strategies found in the
works of nineteenth-century European historians such as Leopold von Ranke and Jacob
Kenneth Burke, White proposes a theory of tropes, or symbolic modes, that constitutes the
deep structure of historical thought. White elaborated and modified his arguments from
Metahistory in two collections of essays, Tropics of Discourse (1978) and The Content of the
Form (1987). Although his work has drawn criticism from historians and literary critics alike,
White is widely respected for raising vital questions about the latent assumptions that inform
all kinds of historical interpretation. The essay The Historical Text as a Literary Artifact, is
In his essay The Historical Text as a Literary Artifact, theorist Hayden White tries to
answer metahistorical questions by exhorting historians to embrace rather than deny the
literary origins and confinement of historical narratives. One of his basic ideas is that
historians operate much like narrative writers. White challenges the idea that there can be a
completely objective historian, devoid of bias or a theoretical underpinning that details his
another of its sects and hence biased." White makes the argument that the true focus of
history should be to examine the "meta- history" that exists within the historical narrative.
White views that in general there is a reluctance to consider historical narratives as verbal
fictions, the contents of which are as much invented as found and the forms of which have
more in common with their counterparts in literature than they have with those in the
White builds upon Northrup Frye's view "that the historian works inductively", distinguishing
this position with his by introducing the idea of "emplotment." White defines "emplotment"
as the stories made out of chronicles and "the encodation of the facts contained in the
chronicle". In history, there is a set of narrative called tropes. Any historical narrative is a set
of tropes. The selection and combination of tropes is called emplotment, that is, the
sequential arrangement of tropes. This notion foregrounds the literary action of constructing
attention to the multiplicity of stories that a historian could conceivably tell with different
emplotmentssometimes even with the same set of facts. Emplotment depends on the
subjectivity or the ideology of narrator or historian. Thus we can say that history is multi-
events are made into a story by the suppression or subordination of certain of them and the
view, alternative descriptive strategies, and the like White suggests that historical events
themselves have no real meaning to them. They are "value neutral," because they are
perceived different by the people who experience them. White argues this in the historical
retelling of revolutions, which will look different to a person who is not in power than to one
who is. Such an idea demonstrates how historical events themselves are "value neutral."
White argues that the way they are interpreted is reflective of the historian's bias or his own
understanding. For instance, he suggests that "historical situations are not inherently tragic,
comic, or romantic. They may all be inherently ironic, but they need not be emplotted that
way. All the historian needs to do to transform a tragic into a comic situation is to shift his
point of view or change the scope of his perceptions." The ability to "make sense of sets of
events in a number of different ways" is a critical point in White's analysis. White suggests
that the way in which a certain set of events is configured and presented reveals an ideology
At one point, White makes the very interesting comparison from this process of historical
"overemplotted" their life events, causing them to obsess over or repress them. It is the job of
the therapist to guide the patient towards reemplotting these events, changing their meaning
and significance to better support the patient's wellbeing. White then moves to the mimetic
verbal model of a set of events external to the mind of the historian .This led him to think
that historical narratives are not only models of past events and processes, but also
narrative, White points out that the historical narrative is not just a reproduction of events, but
it is also a set of symbols that allows us to consume the history and find the icon of those
symbols in our literary tradition. Semiotically, historys reproduction necessarily implies a set
of symbols which convey complex meanings in the same way as professedly literary texts.
Linking history with literature White says that historians must develop a historical
classics, the nature of which is such that they cannot be disconfirmed or negatedand that it
classics
Hayden White then change his focus to Levi-Strauss who insists that we can construct a
comprehensible story of the past, only by a decision to "give up" one or more of the domains
of facts offering themselves for inclusion in our accounts. According to him, the "overall
coherence" of any given "series" of historical facts is the coherence of story, but this
coherence is achieved only by a tailoring of the "facts" to the requirements of the story form.
the historical narrative does not reproduce the events it describes; it tells us in what direction
to think about the events and charges our thought about the events with different emotional
valences. The historical narrative does not image the things it indicates; it calls to mind
images of the things it indicates, in the same way that a metaphor does.
White proceeds further to discuss the process of emplotment in historical narratives. To
ordered chronologically. Now he gives number of different ways in which the series can be
emplotted:
(2) A,b,c,d,e, . . . . . . . , n
(3) a, B, c, d, e,. . . . . , n
(4) a,b,C,d,e,. . . . . . . , n
(5) a,b,c,D,e,. . . . . . . , n
And so on. The capitalized letters indicate the privileged status given to certain events or sets
of events in the series by which they are endowed with explanatory force. Hyden White does
not mean by this interference or change in the order of the historical events in the historical
narrative, but simply to a different construction of the same series of event in light of
essentially literary conventions and through different emphasis of different events. Hyden
White lists four main types of emplotment which are tragedy, satire, comedy and romance.
If the series were simply recorded in the order in which the events originally occurred, the
result would be the pure form of the chronicle. In Metahistory, White shows how such
mixtures and variations occur in the writings of the master historians of the nineteenth
century.
The discussion which concludes his essay includes an extended analysis of the play of
narratives. White argues historical narratives are more closely linked with literature than the
sciences not because historical narratives are fictional but because historical narratives
employ tropes (metaphor, metonymy, synecdoche, and irony) to configure historical events in
ways that the audience can relate to. Historians, White explains, reemplot, redescribe, or
recode past events so contemporary cultures can make sense of their past. Histories, then, are
similar to fiction because figurative language is used in both genres to help us come to know
the actual by contrasting it with or likening it to the imaginable; thus both historical
narratives and fiction employ similar strategies in making sense of past events whether they
are real or imagined. His understanding of the historians role is to familiarize the reader with
the unfamiliar face of history; with that as his goal, the historian must use figurative,
rather than technical language because technical language implies commonality and shared
experience whereas figurative language seeks to convey the unfamiliar.To White, history is
suffering today because it has lost sight of its origins in literary imagination.
BIBLIOGRAPHY
White, Hayden. The Historical Text as Literary Artefact. Narrative Dynamics: Essays on
Time, Plot, Closure and Frames. Ed. Brian Richardson. Columbus: Ohio State UP, 2002.
Websites:
http://culturalstudiesnow.blogspot.in/2010/12/hayden-white-historical-text-as.html
https://www.enotes.com/homework-help/need-write-paper-h-whites-article-historical-text-
472704
https://thoughtjam.wordpress.com/2007/05/23/%E2%80%9Cthe-historical-text-as-literary-
artifact%E2%80%9D-hayden-white/
http://essaycemetery.blogspot.in/2012/08/the-historical-text-as-literary.html