Eric W. Pasold,O.B.E.

Abstract

This article examines the clothing of the rural poor in seventeenth-century Sussex, considering what men and women wore, what their clothing was made of and where they got it from, drawing on a broad range of documentary sources including legal depositions, probate material and overseers’ accounts. As would be expected, the clothing of this social group was primarily functional, reflecting limited budgets and arduous working lives. But we can see in the choice of fabric colour, trimmings and accessories that men and women were concerned about their appearance and could achieve a measure of social display, at least in their ‘holiday’ clothes. The ways in which the poor acquired their clothes were complex, involving them in overlapping spheres of production and distribution, which included home production and shop-bought ready-to-wear, all accommodated within a range of economic survival strategies.     

Building an Historical Landscape,Commemorating W. E. B. Du Bois

The history of the W.E.B. Du Bois Homesite in Great Barrington Massachusetts is traced from the present to its earliest inhabitation after the arrival of Europeans and African captives. Social processes of class and race operating at different time scales have constrained the ways the members of Du Bois’s maternal relatives, and more recently private foundations and the public institution of the University of Massachusetts Amherst, have made use of the property. The Homesite figures in Du Bois’s memories of his childhood and was a source of pride during his 26 years of ownership. Telling its story backwards provides insights into how larger social and ideological forces affected individual actions, observations that provide guidance for future commemoration efforts at this National Historic Landmark site honoring the accomplishments of W.E.B. Du Bois.     

From Oblivion to Post-History: Sublime Othering in Rider Haggard and W. E. B. Du Bois

This article addresses the ways in which art and philosophy have been discursively used to conceptualize critical political changes and frame narratives of liberation by including and excluding primitive consciousness simultaneously. More concretely, it analyzes the contribution of art and philosophy to the understanding of history and post-history through different representations of black bodies, black desires, and black agencies in the novels She (1886) by Rider Haggard and The Quest of the Silver Fleece (1911) by W. E. B. Du Bois. At stake is the question of the archeology of the past as a living memory in the post-historical time. This past is politically relevant especially if its cognitive fossils negate the idea of exhausted primitive consciousness in the modern world and give meanings to incongruous bedfellows such as civilization and slavery, neoliberalism and poverty, democracy and Nazism, globalization, terrorism and racism, liberalism and homophobia. Arguably, the triumph of scientific ideas has left us with a perpetual quest for liberation rather than the actualization of liberation as a world phenomenon. I hypothesize the relation between exhaustible elements of technical consciousness simulating progress and their inexhaustible materiality at critical historical junctures as a struggle for taste and self-determination. Critical in this relation is the sense that not only primitive stages of consciousness are never fully exhausted at historical junctures, but that one never comes close to thinking about genuine liberation without engaging with real world matters both domestic/intimate and foreign.