März 9, 2018, 3:56 p.m.,
,
Allgemein.
ABSTRACT
Both of the books under review focus on the tradition of Jewish scholarship and debate. The Genius of Judaism is written from a religious perspective, whereas the authors of Jews and Words envision a future in which Jews live without Judaism; they see Jewishness as a culture that can be divorced from religion. For Lévy, a sense of the divine—including the concept of being a chosen people—is the source of Jewish identity and historical continuity. Lévy also argues that the Jews are chosen to serve non-Jews. Inspired by the prophet Jonah, Lévy undertook diplomatic missions in the Ukraine and in Libya, and I consider the lessons he draws from these missions. I also discuss the relationship of Judaism to various concepts in the philosophy of history: revolution, progress, messianism, and utopianism, as well as the affinity between Judaism and skepticism.
Quelle: http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fhith.12051
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März 9, 2018, 3:56 p.m.,
,
Allgemein.
ABSTRACT
The last time texts were brought onto the general theoretical and methodological agenda of the human and social sciences, they were reintroduced into history in terms of an indefinite set of indefinitely complex contexts, which gave every text a specific date and location in a network of other texts and events. A couple of decades later, however, a more prominent feature of texts seems to be that they are permanently on the move: they circulate, have effects on other things, change and transform realities, and are at the same time themselves translated and modified. In the literature exploring the textuality of history, these dimensions have been under-theorized and often ignored. To meet this challenge, we need to develop concepts and approaches that enable us to place the mobility of texts as well as their mobilizing force at the center of our current historical concerns. In this article we will explore what the consequences of this move could be, and what resources are already at hand in different scholarly traditions. Exploring the entanglements between actor-network theory (ANT in the version of Bruno Latour), on the one hand, and literary criticism, linguistics, and book history, on the other, enables us to focus on how texts move and how they move others. We will proceed in this essay by identifying three decisive moments in twentieth- and twenty-first-century textual scholarship, often conceptualized as “turns,” which are linked to the works of three path-breaking authors and which at the same time represent three different stages or forms of textuality: the linguistic turn (Saussure), the turn to writing (Derrida), and the turn to print (Eisenstein). Our discussions of these three moments and forms of textuality aim at uncovering how they also represent seminal moments in Bruno Latour's development of the theoretical and methodological complex now referred to as ANT.
Quelle: http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fhith.12046
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März 9, 2018, 3:56 p.m.,
,
Allgemein.
ABSTRACT
Beginning with the question of how a sense of geological time remains strangely withdrawn in contemporary discussions of the Anthropocene in the human sciences and yields place to the more human-centered time of world history, this article proceeds to discuss the differences between human-historical time and the time of geology as they relate to the concept of the Anthropocene. The article discusses the difficulty of developing a mode of thinking about the present that would attempt to hold together these two rather different senses of time and ends with a ground-clearing exercise that might enable the development of such thought.
Quelle: http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fhith.12044
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März 9, 2018, 3:55 p.m.,
,
Allgemein.
ABSTRACT
This essay will argue that the traditional opposition between narrative and theory in historical sciences is dissolved if we conceive of narratives as theoretical devices for understanding events in time through special concepts that abridge typical sequences of events. I shall stress, in the context of the Historical Knowledge Epistemological Square (HKES) that emerged with the scientization of history, that history is always narrative, story has a theoretical ground of itself, and scientific histories address the need for a conceptual progression in ever-improved narratives. This will lead to identification of three major theoretical levels in historical stories: naming, plotting (or emplotment), and formalizing. We revisit Jörn Rüsen's theory of history as the best starting point, and explore to what extent it could be developed by (i) taking a deeper look into narratological knowledge, and (ii) reanalyzing logically the conceptual strata in order to bridge the overrated Forschung/Darstellung (research/exposition) divide. The corollary: we should consider (scientific) historical writing as the last step of historical research, not as the next step after research is over. This thesis will drive us to a reconsideration of the German Historik regarding the problem of interpretation and exposition. Far from alienating history from science, narrative links history positively to anthropology and biology. The crossing of our triad name-plot-model with Rüsen's four theoretical levels (categories-types-concepts-names) points to the feasibility of expanding Rüsen's Historik in logical and semiotic directions. Story makes history, theory makes story, and historical reason may proceed.
Quelle: http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fhith.12047
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März 9, 2018, 3:55 p.m.,
History and Theory,
Allgemein.
Kommentare geschlossen
März 9, 2018, 3:55 p.m.,
,
Allgemein.
ABSTRACT
Frank Ankersmit is often perceived as a postmodern thinker, as a European Hayden White, or as an author whose work in political philosophy can safely be ignored by those interested only in his philosophy of history. Although none of these perceptions is entirely wrong, they are of little help in understanding the nature of Ankersmit's work and the sources on which it draws. Specifically, they do not elucidate the extent to which Ankersmit raises questions different from White's, finds himself inspired by continental European traditions, responds to specifically Dutch concerns, and is as active as a public intellectual as he has been prolific in philosophy of history. In order to propose a more comprehensive and balanced interpretation of Ankersmit's work, this article offers a contextual reading based largely on Dutch-language sources, some of which are unknown even in the Netherlands. The thesis advanced is that Ankersmit draws consistently on nineteenth-century German historicism as interpreted by Friedrich Meinecke and advocated by his Groningen teacher, Ernst Kossmann. Without forcing each and every element of Ankersmit's oeuvre into a historicist mold, the article demonstrates that some of its most salient aspects can profitably be read as attempts at translating and modifying historicist key notions into late twentieth-century categories. Also, without creating a father myth of the sort that White helped create around his teacher William Bossenbrook, the article argues that Ankersmit at crucial moments in his intellectual trajectory draws on texts and authors central to Kossmann's research interests.
Quelle: http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fhith.12045
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März 9, 2018, 3:55 p.m.,
History and Theory,
Allgemein.
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März 9, 2018, 3:55 p.m.,
David P. Jordan,
Allgemein.
ABSTRACT
The argument here is that despite the many similarities of writing the history of ancient Rome, whether the Republic or the Empire, there are stark and significant differences between Edward Gibbon and Mary Beard. In part this is a matter of style and literary genius. It is also evidence of a vast cultural difference, reflected in changing attitudes about writing history and its importance. Beard is impatient with Gibbon's oratorical formality and conceits. Her own writing is easy and unmannered. These literary habits are determined by audience as well as personality. Gibbon addresses the English ruling class and enlightened opinion. His concerns are politics, religion, and law—the interests of his readers who governed and shaped opinion. Beard is more interested in the private and personal, subjects that until recently had only a marginal place in historical writing. She relies heavily on sources that were unknown to Gibbon, and might not have interested him anyhow. Her style mirrors these concerns. She does not assume her readers have had a Classical education nor that they know the general outlines of Roman history. She has little or no tolerance for Gibbon's obsession with religion, and, at least in SPQR, slight interest in either paganism or the rise of Christianity. Her thousand-year slice of history—Gibbon also tackled a millennium—stops well short of Gibbon's broad philosophical vision of Rome as the cradle of Europe. These contrasts in style, taste, sources, and personality are not offered in judgment, but as commentary on the continuing vitality of Roman history.
Quelle: http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fhith.12050
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März 9, 2018, 3:55 p.m.,
History and Theory,
Allgemein.
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März 9, 2018, 3:55 p.m.,
,
Allgemein.
ABSTRACT
At the beginning of the twenty-first century, there was a growing sense that historians had neglected the emotions and failed to think seriously about them. Since then, there has been explosive interest in the history of emotions. What precipitated this development? What has this focus on emotion added to our historical understanding, and what does a historical perspective contribute to research on emotion? Two recent books help us think about these questions. In The History of Emotions, Jan Plamper offers the first book-length introduction to this field available in English; in Emotional Lexicons, Ute Frevert and a group of fellow historians trace continuities and change in the vocabulary of feeling from the beginning of the eighteenth century to the end of the millennium. At stake, in both books, is the idea that emotions are historically contingent—that history has the ability to shape and transform even the most basic features of human experience. This review essay engages with the central arguments of these books, and offers a somewhat different interpretation of the history of emotions. What is called for, the essay suggests, is not first and foremost a separate history of emotions nor the adding of emotion to existing histories, but new histories that systematically incorporate emotions into their analyses. Historians should seek to demonstrate how emotions are an integral part of history and historiography in a more general sense. Systematic attention to emotions not only adds nuance to a historical narrative, the essay concludes, but also fundamentally affects our ideas about how history actually happens.
Quelle: http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fhith.12048
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