The Politics of Hella Wuolijoki’s Autobiography

This article approaches the Finnish-Estonian Jill-of-all-trades, Hella Wuolijoki (1886–1954), through her autobiographical writings. She was active in business, politics, science and culture during a turbulent time in Finnish history, and her radical political stance and unorthodox methods made her a controversial person. The article revisits the concept of persona, as it has been used in history of science, in order to analyse how Wuolijoki used her autobiographical writings to expand the field of acceptable actions for women, and to justify her own life choices.     

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.     

The Idea of a Good and Bad Gemeinschaft in William Bloke Modisane’s Autobiography,Blame Me on History

William Bloke Modisane, the African writer and journalist, attracted wide notice with his autobiography, Blame Me on History, which was banned in South Africa in 1963, the year in which it received its first publication. The sociologist's interest in Modisane's autobiography can be located in several basic themes (among these can be counted the problem of his cultural dilemma as a member of the African middle class), but for present purposes, we need to note only one aspect of the book which I think has been constantly ignored, namely the sociological tradition that informs the meaning of his concept of the community— Sophiatown. The name “Sophiatown” carries a profoundly important meaning in Modisane's autobiography. I will argue that in the sociological sense in which the Drum writer uses the name, he articulates the central notions of what the German sociologist Ferdinand Tönnies regards as a Gemeinschaft social order. There is a different, though related, point that needs to be made about Modisane's use of the term “community”: if we read his book carefully, we can see that it contains two different narratives about Sophiatown, a positive one which appears to have been slightly romanticised, and a negative one, which focuses on the community's darker side, showing it up to have been a Gemeinschaft in an unusual way. It is through this binary opposition that Modisane creates in his autobiography that he shows his ambiguity with regard to his Gemeinschaft community.     

The National Gallery of Victoria’s Colony and Difficult History

A recent exhibition staged by the National Gallery of Victoria Australia can be regarded as an expression of the international difficult histories boom. In large part, its representation in Colony of Australia’s black history is in keeping with the Manichean accounts that have come to dominate in the realm of popular culture and is a function of its decision to represent the past in forms that are primarily memorial and performative rather than historical and pedagogical. I argue that any serious attempt to come to grips with this nation’s difficult Aboriginal history requires its settler peoples to rethink rather than merely reject previous settler accounts of the past, and I contend that this task demands the practice of both scholarly history and local Aboriginal community history, which provide more complex accounts of the past.     

India’s Part in the Politics of Fiji’s Decolonization: From ‘Outworn Slogans’ to ‘Pragmatism and Realism’

United Nations (UN) demands for the unconditional ending of colonial rule troubled British officials confronted by local political difficulties impeding their efforts to establish self-government for Fiji, alarmed Indigenous Fijian leaders who initially resisted that reform, and encouraged the polarizing demand by Indo-Fijian leaders for a common franchise. India was initially at the forefront in maintaining UN pressure on Britain to move Fiji rapidly to independence with this franchise. Yet in the last two years of British rule, as ethnic tension in Fiji rose dangerously, India assumed the lead in urging moderation at the UN. India’s volte-face from antagonist to ally of the British helped open the way to the political accord on which Fiji’s independence constitution was based. The article highlights the major part played by the pre-eminent Indigenous leader Ratu Kamisese Mara in winning India’s support for a cautious approach to reform.     

Men’s History,Gender History,or Cultural History?

Books reviewed in this article: Shawn Johansen, Family Men: Middle–Class Fatherhood in Industrializing America Martin A. Berger, Man Made: Thomas Eakins and the Construction of Gilded Age Manhood Matthew Basso, Laura McCall and Dee Garceau (eds), Across the Great Divide: Cultures of Manhood in the American West     

Dressed ‘as if for a Carnival’: Solving the Mystery of the Origins of Children’s Fashion. A New Perspective on the History and Historiography of Children’s Dress

The article has a double focus: explaining the so-far obscure origins of children’s fashion in the later eighteenth century and putting its emergence in the context of the ‘grand narrative’ concerning the ‘discovery of childhood’ during this pivotal period. Contrary to Rousseau’s famous dismissal of the hussar suit, the role of ‘fancy dress’ inspiration in the development of children’s fashions for the first time purposefully meant to distinguish the (male) child from the grown-ups and, concurrent with the Enlightenment’s ideas on childhood, emerges as central rather than marginal. The repertory of styles adopted for boys’ wear is shown to have been inspired by various ethnic and historical dress traditions rooted in the fascination with masquerade characteristic of the Rococo culture but harnessed to express the emerging new attitudes. Among them, special attention is given to inspirations by Polish national dress.

Second, the article takes on the argument presented by Daniel Thomas Cook in his inspiring article in Textile History, 42, no. 1 (2011). Having acknowledged the foundational role of fashion history in the emergence of childhood studies, Cook regards its present status as peripheral. He dismisses the underlying premise of its principal ‘grand narrative’ as based on a fruitless distinction between utility (and functionality) and fashion rather than the invention or discovery of the ‘child’ and ‘childhood’. While partially accepting Cook’s criticism, the article argues that the ‘grand narrative’, thus modified and expanded, retains its usefulness. In the nineteenth century, the ‘fancy dress’ and ‘playfulness’ theme continued, reflected in the most popular children’s styles (sailor suit, Little Lord Fauntleroy suit) and a range of others, temporarily or locally prominent, and intertwining with multifarious cultural, artistic, social and commercial developments.     

‘Who Will Write the History of Tears?’ History of Ideas and History of Emotions from Eighteenth-Century France to the Present

Summary

The aim of this article is to shed light on the methodological relationship between the history of ideas and the history of emotions, starting from the conception of weeping in the eighteenth-century French reflection. This period was critical for the defining of the modern concept of emotion because it encompassed the development of a new aesthetic and moral code centred on the exasperation of sensitivity and an exaggerated use of tears. This study brings out, in terms of methodology, the importance that the analysis of tears assumed from two points of view: on the one hand, it places the problem in a framework determined by history and culture (the object of study for the history of emotions); on the other, it recognises the unavoidable axiological and moral element that characterised crying (the object of study for the history of ideas). After a brief reconstruction of the discussion of tears in the history of emotion—from the histoire des mentalités to the ‘emotional turn’—and in the history of ideas, respectively, the article outlines some potential areas for research in an interdisciplinary perspective.