The phrase "linear history" is grammatically correct and can be used in written English.
Example: "The textbook presented a simplified, linear history of the Industrial Revolution, ignoring the complexities and social impacts of the time period."
Believing that London defies chronology, Ackroyd jettisons linear history in favor of a huge collage of his home city.
The resulting mix-and-match approach is part of an international museum trend that has left some people fretting that linear history, the old history, "the way things really happened," will be forgotten.
If you are looking for a complex story line or a linear history of one of America's greatest industries, you have come to the wrong place.
Instead, it reflects recent curatorial trends, which lean toward mash-up or collage aesthetics, with paintings hung in pairs or groupings that consciously disrupt the flow of linear history.
A linear history of the British newspaper industry would look as complicated as the family tree of the Hapsburgs, only in this case the family tree would be inverted, broad at the top and narrow at the bottom, as the readers' choices shrank.
The best movies in this mode--Luchino Visconti's "The Leopard" (1963), Roberto Rossellini's "The Rise of Louis XIV" (1966), and Yves Angelo's 1994 "Le Colonel Chabert," among others--not only are dedicated to reconstructing vanished worlds, but challenge the truisms of linear history.
Uninterested in conventional linear histories and their well-worn patchwork of archive footage and talking heads, Blank preferred to make intimate, rounded portraits.
Western museums are categorizing, conserving entities, invested in solid objects, linear histories, datable names and quantifiable values.
Recent English writing on Italy includes Tim Parks's books; Tobias Jones's The Dark Heart of Italy, a quietly furious exploration of Italy's seedier corners; and David Gilmour's The Pursuit of Italy, which offers a witty, non-linear history of the peninsula.
The 1940 El Centro earthquake record is inputted to a rigid pier with shallow foundation so that the non-linear history response is obtained.
In Augustine, we find a conception of human history that in effect reverses this schema by providing a linear account which presents history as the dramatic unfolding of a morally decisive set of non-repeatable events.
