The Journal
The journal began in Strasbourg as Annales d'histoire économique et sociale; it moved to Paris and kept the same name from 1929 to 1939. It was successively renamed Annales d'histoire sociale (1939–1942, 1945), Mélanges d'histoire sociale (1942–1944), Annales. Economies, sociétés, civilisations (1946–1994), and Annales. Histoire, Sciences Sociales (1994– ).
In 1962 Braudel and Gaston Berger used Ford Foundation money and government funds to create a new independent foundation, the Fondation Maison des sciences de l'homme (FMSH), which Braudel directed from 1970 until his death. In 1970 the 6th Section and the Annales relocated to the FMSH building. FMSH set up elaborate international networks to spread the Annales gospel across Europe and the world.
The scope of topics covered by the journal is vast and experimental—there is a search for total history and new approaches. The emphasis is on social history, and very long-term trends, often using quantification and paying special attention to geography and to the intellectual world view of common people, or "mentality" (mentalité). Little attention is paid to political, diplomatic, or military history, or to biographies of famous men. Instead the Annales focused attention on the synthesizing of historical patterns identified from social, economic, and cultural history, statistics, medical reports, family studies, and even psychoanalysis.
Read more about this topic: Annales School
Famous quotes containing the word journal:
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“The Journal is not essentially a confession, a story about oneself. It is a Memorial. What does the writer have to remember? Himself, who he is when he is not writing, when he is living his daily life, when he alive and real, and not dying and without truth.”
—Maurice Blanchot (b. 1907)