4. EVENTS GETTING AHEAD OF THEMSELVES: RETHINKING THE TEMPORALITY OF EXPECTATIONS

Whereas most theoretical and historiographical accounts of the event have focused on its present and past dimensions, this article addresses the relatively underexplored phenomenon of the future event. As temporal junctures, events often already elicit effects before they come to pass, and even if they never do. Building on foundational work on the relation between experience and expectation by Hans‐Georg Gadamer and Reinhart Koselleck as well as on current historiographical debates on “past futures,” I develop a threefold typology of the future event, distinguishing between the assumption of the routine event, the expectation of the relative event, and the adumbration of the radical event. Engaging with case studies like the year 2000, the ambivalent character of so‐called media events, and ongoing debates about a possible climate collapse and the COVID‐19 pandemic, I show how reconsidering the complex temporalities of the future event can shed new light on the ways in which past societies made their futures present.     

Liberating sex, knowing desire: "scientia sexualis" and epistemic turning points in the history of sexuality

This study considers the role of epistemic turning points in the historiography of sexuality. Disentangling the historical complexity of "scientia sexualis," I argue that the late 19th century and the mid-20th century constitute two critical epistemic junctures in the genealogy of sexual liberation, as the notion of free love slowly gave way to the idea of sexual freedom in modern western society. I also explore the value of the Foucauldian approach for the study of the history of sexuality in non-western contexts. Drawing on examples from Republican China (1912-49), I propose that the Foucauldian insight concerning the emergence of a "homosexual identity" in the West can serve as a useful guide for thinking about similar issues in the history of sexuality and the historical epistemology of sexology in modern East Asia.     

Changing Inuit Historicities in West Greenland and Nunavut

Beyond a few stereotypes framed as oppositions between written and oral, history and myth, and so on, one actually knows little about Inuit historicities. This article argues that recent changes in Inuit senses of history do not represent a progress from limited interest in historical questions to some enlightened historical consciousness. Rather, these changes should be seen as paralleling the recent rapid transitions of their societies, world views and identities. Differences between West Greenlandic and Nunavut historicities may be attributed to the fact that today’s visions of the past are the outcome of divergent historical developments within a (post‐)colonial framework.     

Talking Back to Frida: Houses of Emotional Mestizaje

“Talking Back to Frida: Houses of Emotional Mestizaje” is, in part, a historical meditation on the silencing of three women, Frida Kahlo, María Enríquez, a Mexican woman who was sexually assaulted in 1924, and me. Written in an innovative historical fashion that joins techniques drawn from fiction, journalism, and history, the article attempts to understand specific assaults on women’s voices by drawing readers into the historical worlds of the protagonists. “Talking Back” also seeks to respond to Hans Kellner’s incisive theoretical challenge: how do historians’ personal histories affect their historical choices? The article’s organization depends on my understanding of language, color, and physicality, as the emotional architecture of the Deep Southern and Mexican places tend to both enclose and partially free the protagonists. The essay begins by leading the reader into my own past in the Deep South, a past where German Jewish and Russian Jewish relatives engaged in a cultural battle over form, personal style, and will. Confronting a German Jewish world where only things—never feelings—seemed to matter, I found solace in the friendship of a black servant. That friendship, in turn, helped prompt a particularly empathic historical voice. The southern section is followed by a journey into Frida Kahlo’s Mexican world. In that world, Kahlo’s severe physical pain and solitude construct inner and outer universes. The people who populate these worlds are friends, lovers, husband, and the Mexican poor. Kahlo’s artistic renditions of these people reflect, the article suggests, both the depth of her love for them and a tendency to use them in response to her despair. Finally, “Talking Back” reconstructs the world of María Enríquez, a Michoacán peasant woman assaulted in public by her former boyfriend. Abandoned by friend, sister, and Catholic women on the way to church, Enríquez develops a voice laced with generosity, cultural insight, and a rare self–possession.     

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.     

1. THE DEFINING CHARACTER OF CHINESE HISTORICAL THINKING1

Imbued with profound historical consciousness, the Chinese people are Homo historiens in every sense of the term. To be human in China, to a very large extent, is to be historical, which means to live up to the paradigmatic past. Therefore, historical thinking in traditional China is moral thinking. The Chinese historico‐moral thinking centers around the notion of Dao, a notion that connotes both Heavenly principle and human norm. In view of its practical orientation, Chinese historical thinking is, on the one hand, concrete thinking and, on the other, analogical thinking. Thinking concretely and analogically, the Chinese people are able to communicate with the past and to extrapolate meanings from history. In this way, historical experience in China becomes a library in which modern readers may engage in creative dialogues with the past.     

1. PRÉCIS IMAGES OF HISTORY: KANT,BENJAMIN, FREEDOM,AND THE HUMAN SUBJECT

My fundamental motivation in writing Images of History was to avoid some forms of hubris and despair that trouble contemporary philosophy and to develop instead a picture of human life in historical time. According to this picture, we live amid institutional and practical inheritances we can address but can never fully stabilize and perfect. In different ways, Kant and Benjamin each accept this thought, and they each develop a picture of philosophy as historically situated, open criticism of existing practices and institutions. Each emphasizes the priority of the practical over any fixed metaphysical‐theoretical stance. I survey each of their general theories of critical historical understanding, and I pay special attention to the texts in which they each provide detailed, specific accounts of Western social‐historical development or circumstances: Kant's Religion within the Boundaries of Mere Reason and Benjamin's One‐Way Street. Where Kant's philosophical criticism is reformist, liberal, and casually dismissive of non‐Christian religion, Benjamin's is modernist, erotic, and improvisatory. Their respective images of history according to which we achieve orientation are both complementary and fundamentally opposed—not readily combinable into a consistent whole. Drawing on the work of Jonathan Lear, I end with a picture of maturity and practical self‐unity as centrally a matter of developing the skill of modulated alternation between these two orientation‐affording images.     

Byrsa,The Bull's Hide,at Carthage,and Some Parallels

The colours red, white, and black occur together in folktales, ritual contexts, and traditional art forms around the world. This article draws together research from folklore, linguistics, art history, vision science, perceptual philosophy, and primate biology to propose an evolutionary source underlying the symbolic resonance of these colours.     

Spekulation und Physik im 18. Jahrhundert. Lomonossow,Kant und Lavoisier in Sachen Erhaltungsgesetz und Äther

As far as the law of preservation of matter and the existence of ether are concerned, Kant, Lomonossow and Lavoisier had very similar views. Nevertheless, according to historical evidence they worked out their theories never taking each other's results for granted. Whereas it is well known that Lavoisier did not base his experiments on the former ones by Lomonossow, it has been argued that Kant based his philosophy of nature on Lavoisier's experiments. I try to show here, that Kant had his philosophy of nature done, prior to Lavoisier's Elements of Chemistry. Further that the only one to have been able to influence Kant was not Lavoisier but Lomonossow. But Kant never mentioned Lomonossow. There is strong evidence that the similarity of views in Kant, Lomonossow and Lavoisier is not due to any kind of interaction between them. This also holds of the (same) mistakes, which Kant and Lomonossow made. The only substantial difference is that Kant thought, that some laws of nature may be logically inferred without experiments.     

1. PRETEXTURES OF TIME

Textures of Time is a rich and challenging book that raises a host of important and hard questions about historical narrative, form, and style; the sociology of texts; and the core problem of ascertaining historical truth. Two that pertain to the book's main claims are of special interest to nonspecialist readers: Is register or style—“texture”—necessarily and everywhere diagnostic of “history”? Does a new kind of “historical consciousness” emerge in south India beginning in the sixteenth century, indeed as a sign of an Indian early modernity?Textures is not the first book to argue that historical discourse is constitutively marked by a peculiar style, but the claim is beset by difficulties that scholars since Barthes have detailed. Rather than textures of time—accounts of what really happened in history—what these works offer us may be only pretextures of time, textualized forms of a human experience that make claims about its degrees and types of truth through representations of various states of temporality. Instead of assessing, then, whether these works are history or something else like “myth,” we might ask whether they invite us to transcend this very dichotomy, to try, that is, to make sense of historical forms of consciousness rather than to identify forms of historical consciousness. As for modernity, nothing in south Indian historiography from 1500–1800 remotely compares to the conceptual revolution of Europe. But why should we expect the newness of the early modern world to have been experienced the same way everywhere? Modernity across Asia may have shown simultaneity without symmetry. Should this asymmetry turn out to reveal continuity and not rupture, however, no need to lament the fact. There is no shame in premodernity.     

5. INDIA,ITIHASA, AND INTER‐HISTORIOGRAPHICAL DISCOURSE

An effective and enriching discourse on comparative historiography invests itself in understanding the distinctness and identity that have created various civilizations. Very often, infected by bias, ideology, and cultural one‐upmanship, we encounter a presumptuous‐ness that is redolent of impatience with the cultural other and of an ingrained refusal to acknowledge what one's own history and culture fail to provide. This “failure” need not be the inspiration to subsume the other within one's own understanding of the world and history and, thereby, neuter the possibilities of knowledge‐sharing and cultural interface. It is a realization of the “lack” that provokes and generates encounters among civilizations. It should goad us to move away from what we have universalized and, hence, normalized into an axis of dialogue and mutuality. What Indians would claim as itihasa need not be rudely frowned upon because it does not chime perfectly with what the West or the chinese know as history. accepting the truth that our ways of understanding the past, the sense of the past, and historical sense‐generation vary with different cultures and civilizations will enable us to consider itihasa from a perspective different from the Hegelian modes of doing history and hence preclude its subsumption under the totalitarian rubric of world history. How have Indians “done” their history differently? What distinctiveness have they been able to weave into their discourses and understanding of the past? Does the fact of their proceeding differently from how the West or the Chinese conceptualize history delegitimize and render inferior the subcontinental consciousness of “encounters with past” and its ways of being “moved by the past”? This article expatiates on the distinctiveness of itihasa and argues in favor of relocating its epistemological and ideological persuasions within a comparative historiographical discourse.     

WONDER: FROM POETICS TO POLITICS

Marnie Hughes-Warrington's book, History as Wonder: Beginning with Historiography, invites readers to reconsider the power of wonder as a critical concept whose theoretical implications go far beyond its evident ability to inspire historical research. Wonder is supposedly a neutral weapon for historians, one that is limited to promoting incessant curiosity about the past. Attempting to move from a poetic and aesthetic vision of wonder to a consideration of the concept's ethical and political uses, Hughes-Warrington claims that “historians since Herodotus have engaged with or responded to the efforts of thinkers who attempt to make general sense of the world, metaphysicians” (xii). In what follows, I challenge Hughes-Warrington's approach by emphasizing and exploring the epistemological questions History as Wonder raises about who holds the power to establish a conventional sense of the world and to what extent historical research may offer general explanations of the world without succumbing to precritical assumptions or metahistorical reductionisms.     

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.     

Danto and the Pale of Aesthetics

Arthur Danto’s Transfiguration of the Commonplace is a new theory of art, seeking to catch the flavour and essence of its contemporary phenomenology. It is obliged, however, to pit itself in toto against aesthetic philosophy, leaning on the derivatives from deuteropraxis and institutional definition while committing itself to a concept of arthood extracted from exoteric ideas, which are held to comprise the artworks’ individuation and identity. This paper examines the principal notions in support of his contentions and contrasts them to the chief principles of aesthetic philosophy. In this juxtaposition, it transpires that conviction eludes Danto, as his suppression of aesthetic criteria yields unsuspected aporias from a disconjugate amalgam of inherence, ontology, epistemology and concept integration. Thus the leap from “mere real things” to the plateau of arthood is never accomplished, as it falters at the step where a perceiving subject has a stake in, and the power of authorisation, of this conception of art.     

According to What: Art and the Philosophy of the "End of Art"

In 1964, when Danto first encountered Warhol's Brillo Box, Jasper Johns made a painting titled According to What. Danto's new book After the End of Art also provokes this question because in his restatement of Hegel's verdict on art's historical role he drops an essential part of the implied definition of art: the issue of adequacy between content and presentation. Why dispense with this crucial point of quality judgment? My critique falls into three parts. The first part shows how the whole historical argument rests upon a shift of criteria. According to Hegel art reached its highest point of achievement in classical antiquity when adequate embodiment seemed indispensable to the presence of the spirit. It subsequently lost this exclusive rank—first through Christianity, then through modern philosophy—when a new spiritual self-awareness emerged which no longer seemed to need external manifestation. Although Danto disputes the concept of absolute self-possession as the metaphysical vanishing point of Hegel's construction, he nevertheless subscribes to its apparent evidence in late twentieth-century art and culture. In the second part I discuss the characteristic distortions of Hegelian-type historicism and confront them with both the obvious misrepresentation of the works of art themselves and the different code of conduct in practical art history. This leads to a rather disenchanting conclusion: according to an old, deeply ingrained philosophical prejudice there is no problem about quality in art, because the true yardstick and fulfillment of art is philosophy itself. The final part tries to unpick this tangle by showing that there was in fact, contemporaneous with Hegel, a remarkably different interpretation of the self-same auspices of modern art which comes much closer to its actual achievements, and this without denying the basic philosophical predicament of which Danto has reminded us.     

History, the Referent, and Narrative: Reflections on Postmodernism Now

This essay surveys the present position of postmodernism with respect to the effect of its ideas upon historiography. For this purpose it looks at a number of writings by historians that have been a response to postmodernism including the recently published collection of articles, The Postmodern History Reader . The essay argues that, in contrast to scholars in the field of literary studies, the American historical profession has been much more resistant to postmodernist doctrines and that the latters' influence upon the thinking and practice of historians is not only fading but increasingly destined to fade. The essay also presents a critical discussion of the current philosophy of postmodernism in its bearing upon historiography, directed chiefly against its claim that the world has undergone an epochal transition from the modern to a postmodern age; its theory of language and linguistic idealism; its opposition to historical realism and denial of the actuality of the past as a possible object of reference; and its theory of historical narrative as unconstrained fictional construction. This discussion includes a consideration of the work of postmodernist thinkers such as J.-F. Lyotard, of the recent books by David Roberts and Robert F. Berkhofer, Jr. which espouse a postmodernist theory of history, and of the narrativist theory of Hayden White. The essay also notes some of the reasons for postmodernism's appeal; and while it does not deny that postmodernist philosophy may have served a useful purpose in provoking historians to be more self-critical and aware of their presuppositions and procedures, it maintains that its skeptical and politicized view of historical inquiry is deeply mistaken, out of accord with the way historians themselves think about their work, and incapable of providing an understanding of historiography as a form of thought engaged in the attainment of knowledge and understanding of the human past.     

Bill Clinton's Contractarian World view: The Intellectual Origins and Public Face of the Clinton Philosophy

Bill Clinton's worldview has a serious but still almost wholly unappreciated intellectual provenance, with deep ties to two strands of social contract theory and an informed sensitivity to historical development. Yet Clinton forcefully articulated this worldview to the public only sporadically. The complexity and obscurity of his governing philosophy prevented most observers from understanding it. Inconsistent public articulation kept those who understood it from taking it seriously. Both phenomena fueled the misconception that Clinton lacked a consistent public philosophy. Clinton's inconsistent articulation of his governing philosophy was not random, but strategic. He emphasized contractarian themes at particularly advantageous junctures and subordinated these themes when he thought they would prevent the achievement of his near-term objectives.     

Understanding the divergent development of the ministerial office in Australia and the UK

Large, politicised and separate ministerial offices are a feature of Australian government, while the UK ministerial office remains a hybrid unit which is part of the civil service. Using an historical institutionalist lens, and focusing on institutional factors, the article analyses why the separate partisan model evolved in Australia. It argues the Australian innovation was an historical compromise made in an unsuccessful attempt to move towards US-style political-administrative institutions. By contrast, the UK ministerial office has remained unified and hybrid, and, despite experimentation, resilient to structural and ideational change. There is ongoing pressure for more committed support for British ministers but strong forces have prevented moves towards larger offices, seen in the collapse of Extended Ministerial Offices. The article argues explanations for these divergent paths can be found in concepts such as critical junctures, path dependency and institutional resistance. The article contributes to an emerging comparative literature on advisory institutions.     

LEON GOLDSTEIN AND THE EPISTEMOLOGY OF HISTORICAL KNOWING1

Leon Goldstein's critical philosophy of history has suffered a relative lack of attention, but it is the outcome of an unusual story. He reached conclusions about the autonomy of the discipline of history similar to those of R. G. Collingwood and Michael Oakeshott, but he did so from within the Anglo‐American analytic style of philosophy that had little tradition of discussing such matters. Initially, Goldstein attempted to apply a positivistic epistemology derived from Hempel's philosophy of natural science to historical knowledge, but gradually (and partly thanks to his interest in Collingwood) formulated an anti‐realistic epistemology that firmly distinguished historical knowledge of the past not only from the scientific perspective but also from fictional and common‐sense attitudes to the past. Among his achievements were theories of the distinctive nature of historical evidence and historical propositions, of the constructed character of historical events, and of the relationship between historical research and contemporary culture. Taken together, his ideas merit inclusion among the most important twentieth‐century contributions to the problem of historical knowledge.