李大钊论历史知识普及问题

李大钊从对历史学功用的重新定位与全新阐述,指出史学"最要紧的用处,是用他来助我们人生的修养"。因此,历史学的功用不能只强调政治性而不重视文化性;只关注社会而不顾及人生。这是历史知识需要普及而且能够普及的社会基础与广阔前提。在如何普及历史知识的问题上李大钊认为:首先,只有把历史看成"活的东西",才能把历史写活;只有把历史写活,才能引人入胜。其次,需要"历史研究的本身亦含有艺术的性质"。要"把历史研究的结果用文学的美文写出来"。第三,充分利用一切可以利用的机会与手段进行历史的普及。     

Visual and aural intellectual histories: an introduction

ABSTRACT

If the subject matter of intellectual history is the study of past thoughts, the intellectual history of the visual arts and music may be characterised as the study of past thoughts as they were expressed visually and aurally. Yet this is not always how an intellectual history of art and music has been practiced. More attention is often paid to verbal texts about art or music, rather than to the visual or the aural per se. If we accept that ideas can have visual and aural, as much as verbal form, then the histories of art and music are significant repositories of thoughts of individuals and networks of individuals (creative artists, patrons, institutions) within a given culture and period. But the ways in which those thoughts are articulated as aural or visual “texts”, and the ways in which they can be accessed by those who seek to understand them, will be specific to each art form, and represent a distinctive kind of intellectual activity in each field.     

The margin to act: a framework of investigation for women's (and men's) medieval art-making

ABSTRACT

One of the challenges faced by medieval art historians is to recognise the diverse roles women played in matters of medieval art, while seeing also the impact of society on their artistic choices. By tracing how one work of art can open new critical insights into another, and how disparate objects and buildings – if thought through together – can illuminate our understanding of the Middle Ages overall, we can discern the multi-layered stages of the creative process. The term ‘makers of art’ is proposed as a shift away from the commonly used words – artist, patron, recipient – and the preconceived notions about the individuals who fulfilled those roles. The paper also lays out a framework – ‘the margin to act’ – for the investigation of the multi-levelled interactions of women with medieval art and, ultimately, the writing of history.     

Troubling Naturalism: Shirana Shahbazi's The Curve

This article performs a reading of Shirana Shahbazi's photo-based mural The Curve (2007), an artwork that interrogates the production of knowledge based on various ideas of truth in representation. The Curve meditates on knowledge production in relation to three sites: contemporary documentary photography, the history of northern European still-life painting, and the murals of religious leaders and martyrs that adorn Tehran. The effect of these multiple citations is the creation of an artwork that cannot be comfortably contextualized either in Western art history or in contemporary Iranian visual culture. The Curve thereby anticipates and attempts to block its own assimilation into art historical and critical discourses that reduce the work of Iranian artists to static reflections of a particular geographical and political reality. The artwork thus demands a consideration of the ways in which context, as a term in contemporary global art history, is ideologically constructed within a certain network of power relationships.     

Antique nation? 'Hellenes' on the eve of Greek independence and in twelfth-century Byzantium

Abstract

The Hellenic nation, as constituted in the early nineteenth century, is a recent construct; its name and the traditions to which it lays claim are ancient. In the context of modern debates about the antiquity of nations, and particularly the work of Anthony D. Smith, this paper sets out to make a comparative examination of the contexts and semantic field(s) in which the term 'Hellene' came to be revived by Greek-speakers, as a term of communal self-designation, at two widely separated turning-points in their history. All Greek quoted in the main text is also given in my own translation.     

Having her hand in it? Elite women as ‘makers’ of textile art in the Middle Ages

ABSTRACT

In the Middle Ages, elite women acted as creators, donors and recipients of textile art. This article analyses a small but representative group of seventh- to thirteenth-century embroideries in order to examine the motivation for their creation and to investigate the ways in which women could mark their own presence through textile art. It discusses written sources alongside the material evidence; these sources include documentary, hagiographical and literary texts, which provide information about cultural norms and the expectations of society. Set within the context of these sources, the evidence suggests that society both channelled women's creativity into textile art and idealised it. At the same time, as artists and patrons of ornamented textiles, noblewomen had creative control over the medium; embroidery became a field in which their works were noted and celebrated.     

Intellectual History and the History of Philosophy

Summary

The issue which I wish to address in this paper is the widespread tendency in Anglophone philosophy to insist on a separation between the history of philosophy and the history of ideas or intellectual history. This separation reflects an anxiety on the part of philosophers lest the special character of philosophy will be dissolved into something else in the hands of historians. And it is borne of a fundamental tension between those who think of philosophy's past as a source of ideas and arguments of interest to the present, and those who hold that the philosophy of the past should be studied on its own terms, in relation to its immediate context, without reference to the present. The challenge, then, is to re-historicise the history of philosophy, and to keep the philosophers onside.     

The Conservation Programme of the Côa Valley Archaeological Park: Philosophy,Objectives and Action

Abstract

This paper outlines the methodology for the conservation of Côa Valley rock art, as carried out by the Côa Valley Archaeological Park Conservation Programme. It examines the overall conservation environment that has determined this approach, which aims at an understanding of all the factors affecting the survival of the Côa Valley heritage. We stress that although the Programme sets precise guidelines for the examination and testing of conservation work to mitigate the effects of complex weathering dynamics in action, there are no miraculous solutions to ensure the complete longterm in situ preservation of this World Heritage Site. Despite this geological impossibility, we also emphasize that in a human time scale it makes sense to try to conserve significant heritage (such as the Côa Valley rock art) that expounds and explains our history and ourselves.     

Gombrich’s critique of Hauser’s Social History of Art

This article examines E.H. Gombrich’s critical appraisal of Arnold Hauser’s book, The Social History of Art. Hauser’s Social History of Art was published in 1951, a year after Gombrich’s bestseller, The Story of Art. Although written in Britain for an English-speaking public, both books had their origins in the intellectual history of Central Europe: Gombrich was an Austrian art historian and Hauser was Hungarian. Gombrich’s critique, published in The Art Bulletin in 1953, attacked Hauser’s dialectical materialism and his sociological interpretation of art history. Borrowing arguments from Karl Popper’s critique of historicism, Gombrich described Hauser’s work as collectivist and deterministic, tendencies at odds with his own conception of art history. However, in his readiness to label Hauser a proponent of historical materialism, Gombrich failed to recognize Hauser’s own criticism of deterministic theories of art, especially formalism. This article investigates Gombrich’s reasons for rejecting Hauser’s sociology of art. It argues Gombrich used Hauser as an ideological counterpoint to his own version of art history, avowedly liberal and individualist in outlook.     

Towards a holistic approach to heritage values: a multidisciplinary and cosmopolitan approach

ABSTRACT

In this paper, we explore the ‘Preservation/Heritage Values/Management’ triptych, and we propose a new method for addressing the values attributed to cultural heritage sites. Combining multidisciplinary and cosmopolitan approaches, we propose a way of moving beyond the traditional lens of assessing significance within the imposed categorical framework of ‘aesthetic, historic, scientific, social or spiritual values’. We provide an example of our new approach through a worked case study in the Maloti-Drakensberg Park World Heritage Site (South African section). Our case study concerns the values associated with the world famous San (Bushman) rock art of this mountain area. Through a thematic analysis of data collected in this area from 2009 to 2017, six cross-cultural interest points are identified and are discussed. Building upon the history of values-based heritage management, we argue that our multidisciplinary and cosmopolitan method is transferable and can be applied to heritage sites around the world. It can facilitate the construction of heritage management plans that are more in tune with local actors and that will therefore prove to be more effective and sustainable.     

Social Change in 19th-Century Rural Ireland and the Archaeology of the Narrow-Gauge Railway: The Case of Munster

Abstract

Railways are unusual archaeological entities. They lasted, in many cases, only for a short length of time, and in their locomotive-hauled form are of quite recent origin. There is a signifi cant amount of documentary information available, making it well-nigh impossible, as well as inadvisable, to rely solely on the extant material remains. The fact that later incarnations of some of these lines remain in existence today and are to a degree part of our lives means that we possess preconceived notions about rail travel. Railways have featured heavily in literature and art, as well as having infl uenced the development of communication networks, politics and social issues. All of these combined, aside from drawing our awareness to the magnitude of the importance of railways, make it difficult to look at them from an archaeological perspective, or to see what an archaeological perspective can bring to the study of railways. This paper examines what an archaeological study of the narrow-gauge railways of Munster (the south-west of Ireland) can contribute to an understanding of broader patterns of social change in 19th-century rural Ireland.     

Country stories: the use of oral histories of the countryside to challenge the sciences of the past and future

Abstract

In the context of recent media, governmental, academic and popular attention and enthusiasm for debates surrounding the construction and meaning of the British countryside, this paper outlines the potential for oral history to make a contribution. Drawing on work in Devon, UK, we outline how an oral history methodology can engage with the fields of archaeological science and heritage management of landscape resources from the past, before outlining how such lay narratives may also inform present policies for the landscapes of the future. On the one hand we note the potential of oral histories for animating existing scientific narratives of landscape development. Moving from a position of scientific complicity towards one of critical engagement, we then go on to argue that oral histories may also challenge the authority of scientific knowledge, serving to destabilise existing assumptions, and offering in their stead more complex, meaningful and community-led narratives of landscape.     

Kazantzakis and the Cinema

Abstract

Alexis Zorbas unwittingly displays a knowledge of the cinema when he says to the Boss, <inline-graphic href="splitsection8_in1.tif"/><inline-graphic href="splitsection8_in2.tif"/><inline-graphic href="splitsection8_in3.tif"/>. [‘Anything we couldn't say with our mouths we said with our feet, our hands, our belly or with wild cries'.] Kazantzakis himself once said the same thing in a different way: ‘To succeed in transforming the abstract concepts into simple, clear images is my great aspiration’. These words – written to his future wife Eleni Samios and referring to the cinema's influence on The Odyssey – are the starting point for the rest of Kazantzakis' more complex theories on film, the distillation of the lessons he learned from motion pictures and later applied to his writing. But before continuing, we can create a helpful context for the author's concern with film by supplying some historical background.     

Books Reviews

Abstract

The author underscores the uniqueness of the situation which produced a text but also the process of rewriting and interpretation which followed later applications of the same text. Laato's belief in seeking for historically fixable ideological contexts of prophetic texts is, however, unjustified in light of the unhistorical nature of this context as presented by the OT. Any recurrence to the tradition process of Mesopotamian epic texts in this connection is wrong, as the Mesopotamian tradition was very different from the Palestinian one. Instead of looking for a fixed redactional pattern for all prophetic texts, we should reckon each book to have its own history.     

Engagement and Management: Developing a Monitoring System for Open-air Rock Art in the UK and Ireland

ABSTRACT

Neolithic and Early Bronze Age rock carvings in the United Kingdom and Ireland represent an internationally unique rock art tradition as it is, to the best of our knowledge, the only wholly abstract global rock art tradition. This heritage resource is, however, under threat from an array of factors, such as increasing population densities and agricultural intensity. In this paper, we report on the Condition Assessment Risk Evaluation (CARE) project that had as one of its primary objectives the co-production of a user-friendly, non-invasive condition assessment risk evaluation Toolkit for gathering and organising information essential for the long-term conservation of open-air rock art. We describe the public involvement CARE process through co-experience participatory focus groups, which evaluated the Toolkit, concluding that we can have confidence in the results obtained from the public. Furthermore, the variables that form part of the Toolkit and related management recommendations are presented.     

A Critical Reappraisal of Eustathios Makrembolites’ Hysmine and Hysminias

Abstract

Despite the massive amount of scholarly literature on Iconoclasm and its aftermath, there are really only two major publications that deal specifically and synthetically with ninth-century art. One of these is André Grabar's magisterial L'iconoclasme byzantin, a chronological analysis of monuments and texts; the other is Robin Cormack's short but insightful essay in Iconoclasm, the collection of papers originally presented at Birmingham in 1975, which asks ‘whether the discussion of religious images stimulated by Iconoclasm changed the nature of Byzantine Art’. My aim is rather different. Rather than presenting an encyclopedic overview, this article attempts to crawl into the fabric of Byzantine culture: to see and understand Byzantine art of the ninth century as the Byzantines saw and understood it. It follows that the material presented has not been segregated into the familiar (and often useful) categories of style, iconography, and context, for, to the Byzantines, the three were neither exclusive nor separable. For similar reasons, I have deemphasized any linear progression that might imposed with art historical hindsight on the distant past, and have thereby underplayed the flashes of innovation, novelty and erudition that such detachment allows. These sparks are probably more visible (and certainly more appealing) to twentieth-century art historians than they were to the ninth-century Byzantines, for whom, as we shall see, the power of tradition militated against individual creativity, and artists on the whole remained anonymous artisans. In my attempt to look at Byzantine art from the inside rather than from the outside I have, in other words, concentrated on the fluid interface between objects, and the shifting dialogue between objects and context. This is because what interests me here is how Byzantine ideas about art (their theories), Byzantine perception (how the Byzantines saw), and the artifacts themselves (the practice) come together in the ninth century: how art, that preeminent social construct, worked in the years after Iconoclasm.     

Editorial: The Sympathetic Agnostic: Britain's Next Prime Minister

Abstract

This essay engages the "politics of vision" as a potential template for choosing future presidents. The rhetoric of "vision" is drawn from theological precepts that are grounded in prophetic and transformational discourses. The current politics of popularity, and the reality show atmosphere that surrounds presidential elections, have not held the nation in good stead. We labor under the myth of our own goodness and believe that it doesn't matter who runs the nation, since the balance of power between the branches of government, and a free activist press will protect us from our own bad choices. Recent history proves that we must pay more attention to the criteria by which individuals are selected, because twenty-first-century high stakes political strategies can neutralize even the best laid plans of the nation's founders. To analyze the criteria for selecting future presidents, I turn to the work of writer/activist James Baldwin, theologian/activist William Stringfellow, and ethicist/politician Barbara Jordan. They conclude that vision does not require a crystal ball, just prophetic discourse and moral responsibility. The next President of the United States should be a spiritually mature truth-teller, whose vision for America is congruent with the hopes and dreams of a weary electorate.     

A Picture and a Protest: Kjartan Slettemark and the Vietnam War

In given circumstances, art can play a crucial role in motivating people to participate in altruistic acts of protest and in initiating the formation of social movements. The story of the most controversial work of art in Norwegian cultural history, the so-called Vietnam Picture from 1965, provides an illuminating illustration of how and why artists and their work can have and have had a significant impact on peace and solidarity movements. The article discusses the qualities of artistic production and its reception that can stimulate and sustain protest. Picasso’s Guernica provides an interesting parallel to the Vietnam Picture, and the two pictures are briefly compared.     

Australian Communist Party of Australia v The Commonwealth: Histories of Australian Legalism

Abstract

In this article I structure legalism as a device to interpret how 1951 is remembered in law, in order to show what legal orthodoxies meant in their own time, and how that shifts to a different form of legalism in our own. In doing so, I will argue that the idea of legalism famously produced by the High Court judgment in 1951 has shifted its meaning as much as the ideological support of and opposition to communism that were expressed in the case. I will suggest that this history requires conscious incorporation in the commemorative narratives of ‘democracy vs. communism’.     

President Obama,the Bible,and Political Rhetoric

Abstract

How has President Obama made use of the Bible in his political rhetoric, especially as it relates to public policy debates? This article addresses Obama's religious origins, his work as a community organizer in Chicago, his coming to Christian faith under the leadership of Rev. Jeremiah Wright, and the development of his understanding regarding the relationship between faith and politics. In particular President Obama has emphasized the notion that we are all our brothers' and sisters' keepers. He also stresses the present generation of black Americans as "the Joshua Generation." The article considers President Obama's hermeneutics, as well as the important context of the black church for his own use of Scripture. The lenses of Abraham Lincoln, Martin Luther King, Jr. and Reinhold Niebuhr are also addressed as they relate to Obama's use of Scripture in political rhetoric.