A Usable Past: History and the Politics of National Identity in Late Victorian England

For the past two decades, issues of English national identity have provided a fertile field for historical investigation. In the late Victorian era, the development of professional standards of scholarship within the academy gave a new dimension to historical debates. The bitter quarrels about appropriate research techniques from the 1860s to the 1890s, among James Anthony Froude, Edward Freeman and John Horace Round, acted as a proxy for the vision of national identity that each historian espoused. After 1870, the development of a national narrative focused on constitutional history as its primary vehicle. The battle over historical reconstruction represented a surrogate for divergent views about political values and national identity. What sometimes seemed frivolous scholarly skirmishes, therefore, had a much greater political importance. As a result, the long feud had greater importance than the eccentric personalities of the participants appeared to indicate. For Froude, the Tudor age of discovery and religious reformation represented the best of English character. For Freeman, a strong Gladstonian Liberal, consensus and continuity over many centuries defined English history best. John Horace Round, a Conservative stalwart, thought that Freeman had slanted his historical conclusions to validate his Liberal politics and reinterpreted the Norman conquest to express his own political beliefs. Thus the quibbles about shield walls and other issues provided a terrain for the real cause of antagonism: different views of national identity that history furnished. Each historian constructed a usable past in order to justify contemporary discussions of national identity.     

TWO CONTRASTING FRENCH APPROACHES TO HISTORIOGRAPHY

This essay reviews two books in the French Que Sais‐je? series by Charles‐Olivier Carbonell in 1981 and by Nicolas Offenstadt in 2011 on the topic of historiography. Offenstadt's volume is intended to bring Carbonell's up to date, but goes in very different directions. There is general agreement among historians that a fundamental reorientation has taken place in historical thought and writing in the past half century, about which quite a bit has been written in recent years in the West, including in Latin America, East Asia, and India. But this is not the theme of either of these volumes. Carbonell tells the history of history from the ancient Greeks to the twentieth‐century Annales; Offenstadt is not interested in examining major trends in historiography as much of the historiographical literature has done, but in analyzing the changes that the key concepts that guide contemporary historical studies have undergone. For Carbonell's chronological narrative of the history of historical writing, theory has no place; for Offenstadt, who proceeds analytically, history and theory are inseparable. He deals specifically with changes in conceptions of historical time, of the role of documents, of the place of history within the social sciences, of the centrality of narrative, and finally of historical memory.     

DWELLING WITHIN: THE INHABITED RUINS OF HISTORY1

Addressing the recent call to rethink history as a form of presence, the essay works toward a recovery of a space in which such presence of history is encoded. I argue that history as a form of active perception is akin to virtual witnessing of the past in the moment of our encounter with historical artifacts, be they texts, photographs, or buildings. To this end, I engage with the conceptual and material aspects of historical perception, deriving a model of history as “inhabited ruins,” the way it emerges together with historical consciousness and finds an especially dynamic expression in Georg Simmel's philosophy of culture. Throughout, I work with the notion of distance and trans‐dimensional presence as the forces that shape and reshape historical awareness. Ruins, intimately connected to the modern historical imagination, are approached not as sites of commemoration or nostalgia, but as spaces of active exchange between presence and disappearance. As such, they are taken to be the models for the transitive character of history itself, blurring the division between perception and thought. In other words, ruins are taken as structures that evoke and summon the past to an encounter with contemporary reality—a type of co‐appearance that opens the possibility of virtually witnessing the past. I conclude that the logic of “inhabited ruins” constitutes the event‐horizon of modern identity, always placing history right at the threshold of fragmentation.     

STORY MAKES HISTORY,THEORY MAKES STORY: DEVELOPING RÜSEN'S HISTORIK IN LOGICAL AND SEMIOTIC DIRECTIONS

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.     

DIGITALIZING HISTORICAL CONSCIOUSNESS

What is a “historical” video game, let alone a successful one? It is difficult to answer this question because all our definitions of history have been constructed in a linear‐narrative cultural context that is currently being challenged and in large part displaced by digital media, especially video games. I therefore consider this question from the point of view of historical semantics and in relation to the impact of digital technology on all aspects of the historiographical operation, from the establishment of digital archives, to the production of e‐texts, to the digital remediation of visual modes of historical representation. Seen from this dual perspective, video games appear to participate in a process of spatialization and virtualization of historical semantics. In the first place, video games have begun to detach the notion of history from its double reference to the past and to the real—“what essentially happened”—that it had acquired at the end of the eighteenth century. Second, they also challenge the semiotic production of “historic events” that has characterized the construction of modern historical consciousness. Historical video games, in other words, replace representation with simulation and presence with virtuality, thereby marginalizing the oscillation of the modern historical imagination between historical facts and historic events, transcendence and immanence, representation and presence. Although digital reworkings of historical semantics have not produced any grammatical transformation of the signifier, history—nor does this essay propose one—I do argue that the impact of video games on our contemporary historic(al) culture is of paradigmatic proportions similar to those described by Reinhart Koselleck for the dawn of the modern age. Focusing on one of the most successful contemporary video games, Sid Meier's Civilization, I show how the remediation of cinematic genres by video games is pushing the processes of de‐temporalization and de‐referentialization of history toward the formation of a new notion of the historical that may be conceptualized as the inversion of the classic Aristotelian paradigm: history has replaced poetry and philosophy as the realm of the possible.     

Nation,narrative and commemoration: political ritual in divided Cyprus

This article examines the issue of political commemoration, focusing on the commemorations organized by different political parties in the two sides of divided Cyprus. It suggests a new analytical framework for the study of ritual in contemporary nation‐states that moves beyond the usual examination of any single ritual on its own terms. The use of comparison, both within each side and between the two sides, reveals how political actors stage commemorations of different historical events in order to propose contesting historical narratives. Hence, the meaning of any commemorative ritual can be understood only as part of the broader story that each narrative proposes. The historical narratives proposed by different political actors share certain common characteristics by virtue of all employing the narrative form: a beginning, a plot, certain categories of actors, the spatial location where history unfolds, the moral centre through which events are to be evaluated and the end. However, each narrative suggests a different story through which issues of identity and “otherness”, self‐justification and blame are negotiated in order to define the “imagined community” of the nation, its enemies and its pertinent history.     

1. NARRATIVE FORM AND HISTORICAL SENSATION: ON SAUL FRIEDLÄNDER'S THE YEARS OF EXTERMINATION1

Saul Friedländer's magnum opus, The Years of Extermination, has been received worldwide as an exemplary work of history. Yet it was written by a historian who in the last two decades has strenuously asserted the limits of Holocaust representation. At the center of this essay is a problem of historical writing: how to write a historical narrative of the Holocaust that both offers explanations of the unfolding events and also suggests that the most powerful sensation about those events, at the time and since, is that they are beyond words. I explore Friedländer's crafting of such a narrative by considering, first, the role of his attempt in The Years of Extermination to explain the Holocaust and, second, the narrative form of the book. The book is best seen, I argue, not primarily as a work of explanation but as a vast narrative that places an explanation of the Holocaust within a specific form of describing that goes beyond the boundaries of the historical discipline as it is usually practiced. This form of describing goes beyond the almost positivist attachment to facts that dominates current Holocaust historiography. By using Jewish individual testimonies that are interspersed in the chronological history of the extermination, Friedländer creates a narrative based on ruptures and breaks, devices we associate with works of fiction, and that historians do not usually use. The result is an arresting narrative, which I interpret by using Johan Huizinga's notion of historical sensation. Friedländer sees this narrative form as specific to the Holocaust. I view this commingling of irreducible reality and the possibility of art as a required sensibility that belongs to all historical understanding. And in this respect, The Years of Extermination only lays bare more clearly in the case of the Holocaust what is an essential element in all historical reconstruction.     

‘Leger est aprendre mes fort est arendre’: wool,debt, and the dispersal of Pipewell Abbey (1280-1330)

The culturally syncretic character of medieval Southern Italy and Sicily was never so apparent as under Norman rule in the twelfth century. From the fusion of artistic styles in the Capella Palatina in Palermo to the organization of King Roger II’s Regno, the influence of Byzantine, Arab, Christian, Norman, and Lombard traditions is evident. This paper argues, however, that underlying these more obvious manifestations of cultural intersection was an enduring sense of ethnic identity. This self-conscious expression of identity is revealed through the articulation of ancestry and lineage in the eleventh- and twelfth-century charters of the aristocracy in the Principality of Salerno. The distinctions between conquerors and conquered, long considered irrelevant after decades of intermarriage, were remarkably durable throughout this period. Both Normans and Lombards employed genealogical memory as a strategy to enhance their status in the Principality: the Normans aimed to legitimize their present rule; the Lombards wished to recall their past dominance in the region. This paper suggests that the evidence for ancestral memory reveals both differences in self-perception and contemporary attitudes towards political change among the various religious and ethnic groups in the medieval Mezzogiorno. While the intersection of cultures in the South is unmistakable, this paper modifies previous theories to recognize the resistance to cultural absorption by both the new settlers and the indigenous peoples.     

Orderic Vitalis and the First Crusade

This article examines the narrative of the First Crusade written by the Norman monk and historian Orderic Vitalis, which spans Book IX of his Historia ecclesiastica. Though hitherto little-studied, Orderic's account of the First Crusade, which was probably written in 1135, occupies an important place in the Historia and reveals much about his wider historical method. The significance of Orderic's editorial interaction with Baldric of Bourgueil's Historia Ierosolimitana, through the omission and addition of material, forms the focus of the study. By making only a small number of insertions into the story of the First Crusade which he had inherited from Baldric, Orderic transformed its meaning so that it became suitable for incorporation into the Historia as a whole, linking the First Crusade to the history of his monastery, Saint-Evroult.     

Ancestral neologisms in Richard fitz Nigel's Dialogue of the Exchequer

Although Richard fitz Nigel's Dialogus de scaccario (Dialogue of the Exchequer) has received extensive critical attention as a source for fiscal and governmental history, its importance in relation to twelfth-century perceptions of vernacularity has been largely overlooked. Richard's work incorporates a novel and sophisticated treatment of the interaction between Latin and the vernacular languages which is integral to the success of his historical project. The source of Richard's linguistic innovation is paradoxically located in a valorisation of patrimonial heritage: in using language history to trace, shape and reify the distinguished past achievements of his own family, Richard constructs Latin etymologies which simultaneously explore the development of the vernaculars, particularly French. This presentation of etymology as genealogy enables the supple and subjective qualities of philology to be exploited both as a witness to the past and to the glory of the Norman present.     

Looking back: the Cotswolds and English national identity, c. 1890–1950

This paper examines how history was appropriated to construct a unique regional identity for the Cotswolds and a national identity for England in the period c. 1890 to 1950. It explores how ideas of the past, tradition, history, longevity and (dis)continuity were woven into representations of the Cotswolds as incontiguous, set apart and remote in time from contemporary England. The analysis examines how the apparently whimsical devise of «locating» the Cotswolds in specific pasts was mobilized to mount serious criticisms of the condition of England and Englishness. This was achieved through the use of the «door ajar» motif which was a particularly powerful means of expressing the perceived disruption of historical continuity in both the Cotswolds and England and is therefore examined at length. These themes are explored through non-fictional rural writing, guides and other written representations.     

Public Archaeology in a Nascent Nation State: Two Decades of Independence in the Republic of Moldova

Abstract

Moldova celebrated twenty years of independence in August 2011. This article gives an overview of the path to independence and the steps which have been taken since by successive Moldovan governments to establish an identity for the state and its population. Public history and archaeology have played a prominent role in state-sponsored nation-building. Two case studies are discussed: that of the state's leadership icon, the medieval prince Stephen the Great; and Moldova's premier archaeological landscape, Orheiul Vechi. Complexities in the interpretation of these examples are due both to historical factors and to the contemporary economic difficulties facing Europe's poorest country. The article sees nation-building in Moldova as reflective of modernist accounts of nationalism, and of socio-political expediency.     

“FUTURE PAST”: TIME AND TELEOLOGY IN (ANCIENT) HISTORIOGRAPHY

The historian's account of the past is strongly shaped by the future of the events narrated. The telos, that is, the vantage point from which the past is envisaged, influences the selection of the material as well as its arrangement. Although the telos is past for historians and readers, it is future for historical agents. The term “future past,” coined by Reinhart Koselleck to highlight the fact that the future was seen differently before the Sattelzeit, also lends itself to capturing this asymmetry and elucidating its ramifications for the writing of history. The first part of the essay elaborates on the notion of “future past”: besides considering its significance and pitfalls, I offset it against the perspectivity of historical knowledge and the concept of narrative “closure” (I). Then the works of two ancient historians, Polybius and Sallust, serve as test cases that illustrate the intricacies of “future past.” Neither has received much credit for intellectual sophistication in scholarship, and yet the different narrative strategies Polybius and Sallust deploy reveal profound reflections on the temporal dynamics of writing history (II). Although the issue of “future past” is particularly pertinent to the strongly narrative historiography of antiquity, the controversy about the end of the Roman Republic demonstrates that it also applies to the works of modern historians (III). Finally, I will argue that “future past” alerts us to an aspect of how we relate to the past that is in danger of being obliterated in the current debate on “presence” and history. The past is present in customs, relics, and rituals, but the historiographical construction of the past is predicated on a complex hermeneutical operation that involves the choice of a telos. The concept of “future past” also differs from post‐structuralist theories through its emphasis on time. Retrospect calms the flow of time, but is unable to arrest it fully, as the openness of the past survives in the form of “future past” (IV).     

2. THE VICTIM'S VOICE AND MELODRAMATIC AESTHETICS IN HISTORY1

Saul Friedländer's recent Nazi Germany and the Jews: The Years of Extermination offers a brilliant new literary mode for historical representation of extreme events such as the Holocaust. He has produced an authoritative historical narrative of the Holocaust, within which he integrates the victims' authentic voices, as recorded (mostly) in their contemporary writings. This article offers a comparative assessment of Friedländer's achievement with regard to the integration of Jewish sources into the historical account. It begins with a contextualization of Friedländer's book within a framework that compares the ways in which Jewish sources are addressed by different historiographical approaches. In the second part it seeks to contextualize analytically and critically Friedländer's concept of “disbelief”—a concept by which he defines the role of the “victims’ voices” in his narrative. I claim that in our current “era of the witness,” set within a culture addicted to the “excessive,” the voices of the victims and the witnesses appear to have lost their radical political and ethical force. They seem no longer to bear the excess of history, and can thus hardly claim to be the guardians of disbelief. Excess and disbelief have thus become the most commonplace cultural topos. In our current culture, I contend, the excessive voices of the victims have, to some extent, exchanged their epistemological, ontological, and ethical revolutionary function for an aesthetic one. They operate according to the pleasure principle in order to bring us, the consumers of Holocaust images, the most expected image of the “unimaginable,” which therefore generates a melancholic pleasure and involves the narrative in melodramatic aesthetics. The article concludes by briefly suggesting some guidelines for an alternative approach to the study of contemporary Jewish Holocaust sources.     

Viti,the Soil from Eden: On Historical Praxis as a Mode of Connecting in Kadavu

Looking at Fijian Methodism and its role in discourses on identity in Fiji leads to the question of the relationship between Christianity and the vanua, the complex notion of land so crucial for ethnic Fijians' traditionalistic identity constructions. How is it possible to retain important dimensions of the vanua within a Christian worldview? An attempt to understand this relationship using the example of a Fijian meke makes clear that specific ways of constructing the past are crucial here. A concept of history as a symbolic form renders these ways of constructing the past understandable as historical — and it is exactly this historical character which opens the possibility of establishing a relationship to the Christian God while retaining essential dimensions of the vanua, a possibility which can provide one experiential background for the plausibility of an ethnic interpretation of Christianity.     

3. THE QUESTION OF HISTORY IN PRECOLONIAL INDIA

This essay considers an important and enduring problem in the writing of Indian history: how do we historians approach precolonial narratives of the past? A rich and suggestive new study of South Indian modes of historiography, Textures of Time: Writing History in South India 1600–1800, by Velcheru Narayana Rao, David Shulman, and Sanjay Subrahmanyam, has positioned itself at the center of this debate. For a variety of reasons, precolonial narratives have been demoted to the status of mere information, and genres of South Indian writing have been dismissed as showing that South Indians lacked the ability to write history and indeed lacked historical consciousness. Textures of Time responds to this picture by proposing a novel historical method for locating historical sensibility in precolonial narratives of the past. The authors ask us not to judge all textual traditions in India, especially narratives of the past, on the basis of the verifiability of facts contained in them. Rather they suggest a radical openness of the text, and they argue that a historical narrative is constituted in the act of reading itself. They do this by examining the role of genre and what they call texture in precolonial South Indian writing. This essay examines the strengths and limitations of their proposal. It does so by examining the formation of colonial archives starting in the late‐eighteenth century in order to understand the predicament of history in South Asia. Colonial archives brought about a crisis in historiographical practices in India; they not only transformed texts into raw information for the historian to then reconstruct a historical narrative, they also delegitimized precolonial modes of historiography. A better understanding of these archives puts one in a better position to assess the insights of Textures of Time, but it also helps to highlight the problems in its solution. In particular, it reveals how the book continues to use modern criteria to assess premodern works, and in this way perhaps to judge them inappropriately.     

Better a Warm Hug than a Cold Bath: Nationalist Memory and the Failures of Iranian Historiography

This paper assesses the extent to which the modern historiography of Iran is indebted to a nationalist construction of Iran’s past, rather than proceeding from impartial and critical historical research. The paper pursues this aim by applying the distinction between history (as a scholarly discipline) and memory (as a nationalist construct) to one of the central tropes of the country’s historiography. According to that trope, Iranian history can be summarized as a succession of violent invasions by foreign “races,” which never stamped out Iran’s separate ethnic identity. This resilience is attributed to Iranian civilization’s inherent superiority, which Iranianized the invaders and thus ensured Iran’s survival as a primordial nation. The analysis shows that—counter-intuitively—twentieth-century Iranian historians, instead of subjecting this narrative to critical assessment, have in fact played a central role in developing it into a self-serving historiography. Special attention is given to Zarrinkub’s seminal Two Centuries of Silence.     

Some remarks on ethnicity in medieval archaeology

Recent critiques of the culture‐historical approach to ethnicity have denounced the idea that archaeological cultures are ‘actors’ on the historical stage, playing the role that known individuals or groups have in documentary history. But the critique has gone as far as to claim that, because archaeologists supposedly have no access to the meaning of cultural traditions, medieval ethnicity cannot be studied by archeological means. Ethnicity should be banned from all discussions, if medieval archaeology is to make any progress in the future. The paper examines the theoretical malaise at the root of this scepticism verging on nihilism. The understanding of the archaeological record not as an imprint, but as a text allows for much learning about meaning in the past. Symbols, style and power are the key concepts that currently guide anthropological research on ethnicity as a ‘social construction of primordiality’. As several archaeological examples show, medieval ethnicity was a form of social mobilization used in order to reach certain political goals. Ethnic identity was built upon some pre‐existing cultural identity, in a prototypic manner.     

HERBERT BUTTERFIELD AND THE ETHICS OF HISTORIOGRAPHY

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Cunning Histories: Privileging Narratives in the Present

Examining contemporary British witchcraft necessitates representing its historical context, currently a highly contested arena. Both magical practitioners and scholars have heavily critiqued the “orthodox” histories of unbroken lines of tradition reaching back to the distant past that were prevalent in the early to mid‐twentieth century. However, continuities of knowledge and skills based on the practices of rural cunning folk and folk magic continue to be mobilized by some practitioners as a way of connecting to ideas about the past, a narrative that is also critiqued by others. What is at stake is not only the conflicting foundational histories for contemporary witchcraft, but the ways in which the same textual and material evidence is deployed to substantiate competing accounts: they hinge on the ways evidence is contextualized. Interrogating “context” is not limited to the histories we aim to represent, but is embedded within anthropological writing and knowledge.