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.     

Tocqueville’s Dual Theory of Revolution

Alexis de Tocqueville’s political thought is often seen as inconsistent for offering two apparently dissimilar theories of revolution. The first is universal democratisation, understood as a social phenomenon and a grand revolutionary change; the second sees revolution as the logical continuation and radicalisation of the preceding regime. The following question arises: was Tocqueville inconsistent in his principal works? I argue that this was not the case and that the two processes are complementary elements in Tocqueville’s model, which combines the ancient cyclical science of regime change with modern theories of revolutionary progress. What Tocqueville offers is a powerful political theory with considerable predictive power. Tocqueville, I consequently claim, should be viewed as a theorist of revolution rather than as a theorist of democracy per se.     

The Romance of Grime’s Graves

Abstract

The sculptures of the chapter house at York Minster are important examples of medieval art which hitherto have received little attention from scholars. Two problems posed by the sculptures are examined: the extent of restoration, and the iconography.

Some of the chapter house sculptures were mutilated and later restored; medieval and modern work contrast in stone preservation and in methods of attachment to the canopy. Fortunately the figures, which are full-length sculptures rather than heads, for the most part escaped destruction or later attempts at improvement.

The sculptures probably symbolise moral virtues and vices. Individual sculptors differed in their portrayal of allegorical subjects to illustrate this theme. A progressive group chose ordinary animals and attempted a realistic depiction. A conventional group opted for the more stylised, fantastical monsters of an archaic tradition.

Finally, Dr Eric Gee's identification of ‘toothache’ figures is reconsidered.     

The date of Marvell’s Hortus

A post-Restoration dating of Marvell’s poem The Garden and its Latin companion piece “Hortus” to around 1668 has been generally accepted in recent criticism, despite some counter-arguments from those who defend the traditional dating to Marvell’s period at Nun Appleton (1650–2). None of these analyses, however, have attempted to date the Latin rather than the English poem. This article offers a new dating of “Hortus” to around 1654, during Marvell’s time at Eton as tutor to John Dutton. The argument is based on a series of parallels and allusions to Latin poetry either dating from, or demonstrably particularly fashionable in, the period between 1646 and 1654, as well as close attention to the political resonance and contemporary understanding of the poem’s classical sources. As such, it is also a case study in the dating of neo-Latin verse, of which many thousands of examples survive from seventeenth-century England.     

Gladstone’s Land: the changing face of Edinburgh’s Royal Mile

SUMMARY: This paper presents the results of recent archaeological research into the building known as Gladstone’s Land on Edinburgh’s Royal Mile. The aim of the research was to examine to what extent historical fabric had survived in light of extensive historical intervention. The building is a surviving example of Edinburgh’s Old Town urban architecture, which is characterized by tall structures with a shop front and densely occupied residential spaces. The paper presents evidence of the development of the building from the 16th century to its conservation in the 20th century. This development involved the replacement of formerly timber elements in stone and the creation of ornate painted interiors. The history of the building and the archaeological evidence embedded within it offer evidence of the life and changing architectural trends of Scotland’s capital. It also adds to our current understanding of heritage practice in the 20th century, raising issues of authenticity and the social construction of visitor-oriented heritage.     

Ismail Kadere’s Idea of Europe

The aim of this article is to reconstruct and pinpoint the peculiarities of Ismail Kadare’s idea of Europe. Kadare’s idea of Europe, it is argued, differs from the ideas of Europe embraced or presumed by intellectuals like Paul Valéry, Georg Simmel, Danilo Ki?, Václav Havel, Adam Michnik, or Milan Kundera, or from that of the European Union. For Kadare it is literature rather than the polis or its particular ideology that is the guardian of European values. Thus the European legacy, in his view, is primarily Homeric rather than Socratic. I suggest first that the persecution of writers and the repression of literature in totalitarian regimes underlies Kadare’s idea of Europe. I then further characterize Kadare’s theme of persecution as a dialectic between regime and culture. Finally, I reconstruct Kadare’s narrative of Albania’s “return to Europe” as the struggle for recognizing Albania as the birthplace of European culture.     

Conserving Hong Kong’s Heritage: The Case of Queen’s Pier

The case of Queen’s Pier in Hong Kong provides the context for a discussion of conceptions of heritage, the purposes it serves and the dilemmas surrounding conservation in modern Asian societies committed to economic growth. Efforts to save the historic pier from destruction are recounted and the perspectives of those with an interest are examined. Built heritage is shown to have socio‐cultural, political and economic functions and its contribution to defining identity is especially important in times of change and uncertainty. Circumstances in Hong Kong reflect its unique history and current status, but the issues emerging from the analysis have a wider relevance. The fundamental tension between development and conservation is highlighted, together with the challenges of reconciling these two forces in a satisfactory manner.     

The ‘Rebalancing’ of New Caledonia’s Economy

This article assesses the impact of ‘rebalancing’ (ré-équilibrage) policies implemented in New Caledonia following the Noumea Accord in 1998. These policies were designed to redress the disadvantages of the Indigenous Kanak population (both at the political and at the socio-economic level) and to foster Kanak support for a post-Noumea Accord deal with the non-Indigenous population. It outlines the institutional framework of the Noumea Accord and its impact on development policy, exploring the structural dynamics of the New Caledonian economy and the extent of achievements in reducing inequalities. Conventional indicators demonstrate some accomplishments as regards reducing provincial inequalities but this article argues that the goals of rebalancing remain far from achieved and it explores the reasons for those shortcomings. I argue that most difficulties stem from the lack of structural reforms and absence of a shared vision of development. Nevertheless, scope does exist in New Caledonia for fostering balanced development that is environmentally and socially sustainable and better adapted to local specificities.     

Spinoza’s genealogical critique of his contemporaries’ axiology

Among Spinoza’s principal projects in the Ethics is his effort to “remove” certain metaethical prejudices from the minds of his readers, to “expose” them, as he has similar misconceptions about other matters, by submitting them to the “scrutiny of reason”. In this article, I consider the argumentative strategy Spinoza uses here – and its intellectual history – in depth. I argue that Spinoza’s method is best characterised as a genealogical analysis. As I recount, by Spinoza’s time of writing, these kinds of arguments already had a long and illustrious history. However, I also argue that, in his adoption of such strategies, we have good reason to think Spinoza’s primary influence was Gersonides. Elucidating this aspect of Spinoza’s critique of his contemporaries’ axiologies brings a number of explicatory and historical boons. However, regrettably, it also comes at a cost, revealing a significant flaw in Spinoza’s reasoning. Towards the end of this article, I consider the nature of this flaw, whether Spinoza can avoid it and its ramifications for Spinoza’s wider philosophical project.     

‘Germany’s salvation’: Carl Schmitt’s teleological history of the Second Reich

Although Schmitt’s enthusiastic conversion to National Socialism is well known, his short history of the German Kaiserreich, published in 1934, remains neglected in Anglophone scholarship. This article contextualizes Schmitt’s narrative through the National Socialist conception of history and its accompanying teleology leading to the formation of the Third Reich. By placing Schmitt’s historical text in conversation with his earlier Staat, Bewegung, Volk, this article argues that Schmitt appropriated the history of the Kaiserreich to construct liberalism as a social pathology which could only be cured through the ‘concrete state theory’ he outlined in Staat, Bewegung, Volk. Furthermore, this article argues that Schmitt’s history relied heavily on propagandistic clichés of the Third Reich and thereby functioned as a rhetorical legitimation of Hitler’s rise to power.     

Lampon’s Episode in Xenophon’s Ephesiaca: The Reformulation of a Goatherd

The article examines the figure of Lampon, an uncharacteristic goatherd appearing in a folk-tale-like story in Xenophon’s Ephesiaca 2.9–12. It has long been recognized by critics that the circumstances of the Euripidean Electra are recalled in the episode under discussion. Comparisons are made with the Euripidean scene and the “reshuffling” of the main roles is expounded, including the novelist’s decision to make Anthia the partner of a goatherd and not the wife of a lowly farmer. On the basis of thematic and verbal similarities, it is argued that Xenophon appears to have a direct knowledge of Euripides’ Electra, which he imaginatively exploits. Subtle details of occupation and name are also discussed in relation to the stereotypical α?π?λο? and the ?γροικο?. A characteristic feature recalling the Aristotelian notion of ?γροικ?α is pointed, and it is concluded that Xenophon skilfully subverts the stereotypes, as he does not endow Lampon with the traditional negative marking of ?γροικοι and α?π?λοι, and indeed moulds an anti-aipolos.     

‘Hidden from view’?: an analysis of the integration of women’s history and women’s voices into Australia’s social history exhibitions

ABSTRACT

‘Women have mostly been left out of history’, boldly asserted Elizabeth Willis in her exhibition text for The Story of Victoria in 1985. Taking Willis’ statement as a starting point, this article aims to trace firstly how women have been rewritten into Australia’s social history exhibitions focusing on the use of voice as a strategy to do so, and secondly how these voices have changed historical master narratives – by allowing a shift from a big picture history to intimate and deeply personal stories that recast our understanding of the past in ways that are inclusive of gendered experiences. We investigate the use of the curatorial voice as reflected in Willis’ work, aligning it with the notion of curatorial activism, before exploring the changing curatorial practices that expanded the potential for an interpretive approach that incorporated the voice of the subjects themselves as a central component in the telling of history. We then analyse the impact of these strategies on traditional understandings of the past through three exhibitions developed by Melbourne Museum over 30 years: The Story of Victoria, a successor exhibition The Melbourne Story, and their Great War centenary exhibition, WWI: Love & Sorrow.     

The Analysis of Lin Yutang’s Humor

Lin Yutang is called the master humorist in China.He advocates humor and spiritual literature in his magazine Lun Yu(Analects)which attracts essays and readership.His informal but polished style in both Chinese and English makes him one of the most influential writers of his generation,and his compilations and translations of classic Chinese texts into English are bestsellers in the West.Humor is a distinctive feature in his works.In his book,he uses humor as he sees appropriate,and through humor he criticizes social realities,depicts characters and introduces original expressions,etc.His humor can be related to some aspects in his life.In this paper,I will briefly analysis Lin’s sense of humor and how Lin’applies humor in his works.     

William Alexander’s Image of Qing China

William Alexander was the official draughtsman of the Macartney Embassy. His pictures of China covered a wide range of themes. Each theme represented a certain purpose. Landscapes, architectural drawings, and portraits constituted the majority of the drawings, which reveal the Embassy’s enthusiasm for obtaining visual knowledge of a variety of aspects in the society of China. The drawings of still life, costume, native species, and religious ceremony occupied the remainder, and provided the audience with a more intricate impression of China. In comparison with other European and some earlier generation artists’ works, Alexander’s pictures convey a peculiar British idea of China at the time, and hint at the potential crisis between the two countries.