Several authors argue that historical works should be viewed as relatively complex and autonomous constructions that are of interest in their own right. In the paper I follow this general approach to history and provide an analysis of historical representation inspired mainly by Nelson Goodman’s observations about symbols. In Languages of Art, Goodman makes a number of interesting claims regarding pictorial representation, exemplification and expression, which could be employed to clarify certain semantic questions of history. He convincingly shows that there (...) are two important questions about any representation: What is the representation about and what kind of representation is it? In the paper I make use of this two-questions point in order to explore the semantics of historical representation. In particular, this point helps to emphasize that historical works are not simple reports about past events but rather symbols revealing what kinds of representations they are, i.e. what they exemplify or express. (shrink)

This paper examines how Hayden White and specifically Frank Ankersmit have attempted to develop the representationalist account of historiography. It is notable that both reject the copy theory of representation, but nevertheless commit to the idea that historiography produces representations. I argue that it would have been more advantageous to go yet one step further and reject representationalist language altogether on the level of narratives, as this implies that one is re-presenting a given object in one’s language in some sense. (...) Narratives and other synthesizing expressions, such as colligatory notions, do not have such objects or references in the past itself, and therefore, it would be more appropriate to talk about constructed ‘presentations.’ In the end, I outline a non-representationalist alternative, according to which historiography is a form of discursive and argumentative practice. (shrink)