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Historiography is one of the most systematic accounts of the fate of culture. It is also a record of human—reflexive and reflective metaphors of the world, simultaneously anthropomorphizing and humanizing it. Historical imagination captures the world in its classical form directly, and in its non-classical form indirectly, through the lens of anthropomorphization. This enables the adaptation of the world to the human dimension or, in other words, to be constructed on a human scale. Historiography and historical thinking, especially the traditional forms, are close to the figures of public discourse because they offer meanings commensurate with it. Additionally, they are openly imbued with values, making them susceptible to easy, casual and biased interpretations. Thanks to these features, historical thinking and historiography provide a framework for texpressing currently important values and the common and specific emotions centered around them.

Different from literary works (prose, drama etc.) with techniques like montage and contemporary media (film, documentaries, video games, internet) where time-lines are being questioned through flashbacks and flashwords, historiography seems to have resisted such challenges. Most historiographical works (biographies, scholarly studies) still adhere to chronological narratives, even though the boundaries between history and literary fiction have been blurred over the past decades. Responding to 20th/21st c. attempts like Walter Benjamin's prophetic historian, this volume asks: How to write history without following the chronologically oriented trajectory of time? The interdisciplinary contributions from a broad range of history (medieval, modern, music, sciences), sociology, life sciences, genocide research go back to a symposium that responded to a publication of Markus Vinzent (Writing the History of Early Christianity. From Reception to Retrospection of 2019, Cambridge University Press). The scholars engage with the idea of retrospection as a method of critical historiography. Writing retrospectively is not simply a matter of presentism, reversing chronology, it disrupts continuities and teleologies and opens creative futures.