Forty Years of Ming and Qing Research Following China’s Opening Up and Economic Reform

Increasingly, Chinese history is becoming a more significant component of academic international history. This is particularly true in light of the Chinese economic reform, whereby historical narrative has been able to go beyond more traditional standards of periodization, allowing, for example, Ming and Qing-era historical research to grow and develop qualitatively as well as quantitatively. In this sense, the field has greatly benefitted from the “ideological liberation” which followed in wake of the reform. However in a broader sense, this development is also closely related with academic exchange. Communications among domestic and international scholars of Ming and Qing history, as well as of international history, has normalized in the years following the reforms. This has not only led to a considerable influx of “overseas” historical research to China’s mainland, but has also allowed for a larger-scale access to and citation of Chinese historical research by these overseas scholars. Domestic and international scholars have, from this, established much closer academic relations with one another. This tremendous progress made within the field Ming and Qing-era historical research during the past forty years was established upon the foundation of Chinese scholars’ assiduous efforts as well as their increasingly frequent exchanges with international scholars and academics.     

PHOTOGRAPHS, SYMBOLIC IMAGES, AND THE HOLOCAUST: ON THE (IM)POSSIBILITY OF DEPICTING HISTORICAL TRUTH

Photography has often been scrutinized regarding its relationship to reality or historical truth. This includes not only the indexicality of photography, but also the question of how structures and processes that comprise history and historical events can be depicted. In this context, the Holocaust provides a particular challenge to photography. As has been discussed in numerous publications, this historic event marks the "limits of representation." Nevertheless there are many photographs "showing" the Holocaust that have been produced in different contexts that bespeak the photographers' gaze and the circumstances of the photographs' production. Some of the pictures have become very well known due to their frequent reproduction, even though they often do not show the annihilation itself, but situations different from that; their interpretation as Holocaust pictures results rather from a metonymic deferral. When these pictures are frequently reproduced they are transformed into symbolic images, that is, images that can be removed from their specific context, and in this way they come to signify abstract concepts such as "evil." Despite being removed from their specific context these images can, as this essay argues, refer to historical truth. First, I explore the arguments of some key theorists of photography (Benjamin, Kracauer, Sontag, Barthes) to investigate the relationship between photography and reality in general, looking at their different concepts of reality, history, and historical truth, as well as the question of the meaning of images. Second, I describe the individual circumstances in which some famous Holocaust pictures were taken in order to analyze, by means of three examples, the question what makes these specific pictures so particularly suitable to becoming symbolic images and why they may—despite their abstract meaning—be able to depict historical truth.     

RESEARCH,NARRATIVE, AND REPRESENTATION: A POSTNARRATIVE APPROACH

Narrativism or representationalism is founded on the idea that historical narratives and representations are 1) true and indivisible wholes, whereof 2) the truth needs to be maintained, although a narrativist or representationalist whole cannot be confirmed or disconfirmed, and wherein 3) the past is represented in a figurative sense. These fundamental aspects of narrativism have had a positive impact on historiography, but they are also the three reasons why narrativism has neglected historical research and argumentation. To remedy these problems postnarrativism has been evoked. It opts for presentation instead of representation, cutting through all the links between the past and the historiographical product. The product is not a narrative or a representation but a thesis, a proposal to see the past in a special way. The only element postnarrativism wants to retain of narrativism is colligation because it has an argumentative structure based on epistemic values. Postnarrativism leads to knowledge, built on the practice of warranted assertions instead of truth. My postnarrativism chooses a middle course between a strong narrativism and what I would like to call a “weak,” presentational postnarrativism. I agree with postnarrativists that more attention must be paid to argumentation and research. Moreover, I consider time a neglected issue in narrativism. Nevertheless, I don't want to give up the three above‐mentioned fundamental aspects of it. In my view the assumption of truth with regard to (figurative) representation needs to be maintained, but in a pragmatic, provisional form: a historical narrative or representation can be considered as true as long as it has not been replaced by a better one. Retaining truth and holism, but wanting more room for investigation and argumentation, requires that narrativism's role in historical research and history‐writing be revised. This implies the replacement of the usual research phase by a preparation phase, wherein, next to research, space must be reserved for so‐called writing activities. Preparation means the conversion of a germinal narrative or representation into an accomplished whole. Holism occurs in two representational forms: a narrative and a representation. In both forms, research concepts and the associated temporalities become visible under the surface of the narrativist or representational superstructure.     

Ankersmit's Postmodernist Historiography: The Hyperbole of "Opacity"

Ankersmit's articulation of a postmodern theory of history takes seriously both the strengths of traditional historicism and the right of historians to decide what makes sense for disciplinary practice. That makes him an exemplary interlocutor. Ankersmit proposes a theory of historical "representation" which radicalizes the narrative approach to historiography along the lines of poststructuralist textualism. Against this postmodernism but invoking some of his own arguments, I defend the traditional historicist position. I formulate criticisms of the theory of reference entailed in his notion of "narrative substance," of his master analogy of historiography with modern painting, and finally of his characterization of historical hermeneutics. In each case I find him guilty of the hyperbole which he himself cautions against. While it is true that historical narratives cannot be taken to be transparent, in taking them to be opaque Ankersmit puts himself in an untenable position. Finally, Ankersmit seeks to buttress his theoretical case by an interpretation of the new cultural historical texts of authors like Davis and Ginzburg. While this is a concreteness heartily to be welcomed in philosophers of history, I cannot find his construction of this new school's work plausible.     

ARE WE HARD‐WIRED TO THINK ABOUT HISTORY?

This book assumes that basic ways of thinking about history are hard‐wired in the brain. Since different styles of discourse with which we talk about the past are hardwired, Blum infers that a protohistorical consciousness is necessary for the existence of language. Historical logics reflect some preconceived part–whole relation. Blum discerns four kinds of part‐whole structure, which he terms continuity, quantum, continuum, and dialectic. Blum believes that these part–whole relations rest on universal, prereflective intuitions. He concludes that humans have different prelinguistic intuitions of time. Blum claims that people's variable innate temporality is expressed in their historical style. It follows that historical style antedates history as a genre. Hence we are not talking about historical style, but about how individuals apply their sense of the relation between parts and wholes to the problem of time. Our study of historical context becomes secondary to the assumptions we make about the interface between part–whole relations and time. The temporality of history is derivative of a phenomenon that is not historical. Certain conclusions are suggestive. First, modality precedes tense in evolution. Second, we ourselves are continuing to evolve. Blum believes that we are moving “towards a selection of abstract thinkers ruled by pure reason.” Instead of viewing cultures as organisms, it is more profitable to think of the evolution of structures of thinking, and to show that some are more prominent at present than they have been in the past. For Blum, historical thinking is a dependent variable. It depends on tense and modality, which are given before language and culture. Historical thinking reflects a primary experience, but it is not such a primary experience itself.     

Identity formation through national calendar: holidays and commemorations in Pakistan

This article contributes to academic literature on the project of identity formation in a postcolonial nation‐state. The article argues that a nation‐state emphasising certain aspects of the past for commemorative or celebratory purposes, while suppressing or ignoring the memories of some other event or historical figure, are both parts of the same process. Both these processes, in different ways, seek to give a certain direction to the narrative about the history of the nation and the nation‐state. These aspects of national memory and amnesia have been explained through the prism of national/public holidays while foregrounding the case study of Pakistan. The article argues that although this process of shaping a specific narrative (referred to as commemorative narrative in this article by using Yael Zerubavel's work) is common to every project of identity formation, its peculiarity is more pronounced in a postcolonial state like Pakistan, which has certain cut‐off dates and ruptures but is, simultaneously, eager to emphasise continuities in its trajectory and antiquity in historical tradition. The study of the process of developing a national calendar in case of Pakistan will show that identity formation is a transient process in which various identarian values, political considerations and social processes play an important part. In particular, it requires an attempt on the part of the state to try impose a homogenising historical narrative by envisaging a national calendar, i.e. by announcing a national or public holiday. This helps accord prestige to persons credited as founding fathers or ideologues, ascribe solemnity to days remembering wars and festivity to mark independence or religious occasions. By discussing these themes in detail, this exploratory study of the history of national calendar will lend an alternative lens through which to look into the processes of identity formation in postcolonial nation‐states in general.     

Memory and Nostalgia in Antonio Tabucchi's Last Two Books

In Il tempo invecchia in fretta, a collection of short stories (2009), and in Viaggi e altri viaggi, a travel book (2010), the Italian novelist Antonio Tabucchi (1943–2012) investigates the conflict between interior time, or duration, and social, or historical time. Il tempo invecchia interrogates the dialectic between individual lives and grand historical processes. Viaggi—Tabucchi's intellectual autobiography—retrieves the past, which exists in the present as memory, so as to counter the “eternal present” of media time and its humus, consumerism, and provide a sense, or direction, to future decision making. Both volumes demonstrate a form of social commitment that is not Sartrean—that interrogates the present while abstaining from proposing solutions—but is well suited to our times: by bringing together narrative remnants of the past in the present of memory, Tabucchi attempts to give the present a sense and a direction to the future. These altrove altrui (the elsewheres of others) provoke a feeling of “nostalgia for the future,” a yearning for what never was, but still might be: a new social and moral order.     

Coherence and Ambiguity in History

This article is about the logic of the concept of "coherence" as used by historians to justify an argument. Despite its effectiveness in historical arguments, coherence is problematic for epistemologists and some theorists of history. The main purpose of this article is to present some insights that bear upon the logical status of coherence. As will be demonstrated, this will also shed some light on the allegedly dubious epistemological position of coherence. In general I will argue that, logically seen, coherence is a property of a set of related beliefs that makes it possible to justify a choice out of different factually justifiable interpretations. Coherence disambiguates vague or ambiguous observations. As words lose their vagueness or ambiguity in contexts, so do contexts disambiguate historical facts. My argument will be based on some relatively recent findings about the cognitive processes underlying vision and reading. Research in the field of text linguistics is used to show what kinds of relationships exist between historical representations that might be considered to cohere.     

BALANCED TRUTH: STEVEN SPIELBERG'S SCHINDLER'S LIST AMONG HISTORY,MEMORY, AND POPULAR CULTURE1

Looking at the public reaction to it, one might say that Steven Spielberg's Schindler's List is undoubtedly the most successful film about the Holocaust. The film's success in the U.S. and other Western countries can be traced back mainly to the fact that it creates the impression of telling a true, apparently authentic, story. This essay investigates how this impression of historical truth and authenticity emerges in a fiction film. For this purpose the essay reverts to a concept developed by Jörn Rüsen, which distinguishes among three dimensions of historical culture, namely political, aesthetic, and cognitive. In addition to the historical context that serves as a specific precondition for the film's success, the essay primarily investigates the strategies of authentication Spielberg applied at both the visual and narrative levels. The investigation concludes that the impression of evidence produced by the movie is significantly a result of the sophisticated balancing of the three dimensions mentioned above. The film utilizes artifacts of an existing and increasingly transnational (visual) memory for the benefit of a closed, archetypical narrative. It follows the aesthetic and artistic rules of popular narrative cinema, and largely recurs to conventions of representation that were common in film and television programs of the 1990s. Although these forms condense the historical course of events, the film manages to stay close to insights gained by historiography. The hybrid amalgamation of history and memory, and of the imaginary and the real, as well as the combination of dramaturgies of popular culture with an instinct for what can (not) be shown—all of these factors have helped Schindler's List to render a representation of the founding Holocaust myth in Western societies that can be sensually experienced while being emotionally impressive at the same time.     

Muted violence: Italian war crimes in occupied Greece

This article considers the myth of Italians as ‘good people’ that has dominated post-war historiography as well as the public and institutional discourse, and analyses the connection between the judiciary paradigm and the historical narrative of the Second World War. It presents an account of Italian war crimes in occupied Greece and suggests a possible interpretation regarding the military violence towards the civilian population. War crimes are considered within the context of the general orientation of the fascist policy of occupation and the structures of conflict that emerged in the occupied territories. In particular, it discusses the turning point in Italian repressive action, from the logic of reprisal to a policy of massacre.     

Principles of Lightweight Structures in the Sculptural Conceptions of Naum Gabo

Abstract

The Russian-born artist Naum Gabo (1890–1977) often employed new materials and techniques which demonstrate how his spatial conceptions developed towards a sculptural expression of lightness, balance and equilibrium. These principles reverberate with concepts of optimum structures, in which minimum-weight design is achieved through removal of redundant material. Not only formal aspects of his sculptures correspond to this concept, but also Gabo's shared aesthetic and structural concerns with twentieth-century architecture and engineering, in terms of transparency, spatial openness, efficiency and lightweight design are consistent with this idea. Similar notions surfaced in prevailing interests in nature's sense of order and perfection as the basis of biologically-inspired design, which Gabo encountered especially in the work of the biologist D'Arcy Thompson and the art critic Herbert Read. This paper investigates the aesthetic and structural affinities Gabo's sculptures bear with these notions, highlighting how these informed his sculptural conceptions. His oeuvre demonstrates how his constructive technique enabled Gabo to convey an aesthetic that would be appropriate for a modern, industrial society. The aim of this paper is to offer a new way of looking at Gabo's sculptural aesthetic by identifying analogies with theoretical formulations of minimum weight frame-structures, as encountered in the theory of the scientist engineer A.G.M. Michell (1904). Consistent with his historical context, this work demonstrates how Gabo's sculptures convey an aesthetic of balance, equilibrium, and lightness precisely because his sculptural language is rooted in principles of optimum structures to which he responded in visual as well as structural terms.     

1. NARRATIVE EXPLANATION AND ITS MALCONTENTS

In this paper I look at narrative as a mode of explanation and at various ways in which the explanatory value of narrative has been criticized. I begin with the roots of narrative explanation in everyday action, experience, and discourse, illustrating it with the help of a simple example. I try to show how narrative explanation is transformed and complicated by circumstances that take us beyond the everyday into such realms as jurisprudence, journalism, and history. I give an account of why narrative explanation normally satisfies us, and how or in what sense it actually explains. Then I consider how narrative is challenged and rejected as a mode of explanation in many scientific and other contexts and why attempts are made to replace it with something else. I try to evaluate the nature and sources of these challenges, and I describe this controversy over narrative against the historical background of its emergence. My paper ends with a pragmatic defense of narrative explanation against these challenges.     

The Gender of the Church: Conflicts and Social Wholes on Ambrym

There is a strong connection between historical village migration and present day church belonging on Ambrym Island in North‐Central Vanuatu. Church adherence has become an expression of where one comes from and an idiom for the social wholes founded on such belonging. The churches also make manifest the conflict lines between such wholes. The dynamics of such social wholes is tightly related to historical transformations in gendered practice that the traditional focus on male leadership in the church has not sufficiently explored. Through different kinds of fundraising and Christian ceremonies women create new arenas for sharing and community, and women have come to dominate the church movement.     

2. THE VICTIM'S VOICE AND MELODRAMATIC AESTHETICS IN HISTORY1

Saul Friedländer's recent Nazi Germany and the Jews: The Years of Extermination offers a brilliant new literary mode for historical representation of extreme events such as the Holocaust. He has produced an authoritative historical narrative of the Holocaust, within which he integrates the victims' authentic voices, as recorded (mostly) in their contemporary writings. This article offers a comparative assessment of Friedländer's achievement with regard to the integration of Jewish sources into the historical account. It begins with a contextualization of Friedländer's book within a framework that compares the ways in which Jewish sources are addressed by different historiographical approaches. In the second part it seeks to contextualize analytically and critically Friedländer's concept of “disbelief”—a concept by which he defines the role of the “victims’ voices” in his narrative. I claim that in our current “era of the witness,” set within a culture addicted to the “excessive,” the voices of the victims and the witnesses appear to have lost their radical political and ethical force. They seem no longer to bear the excess of history, and can thus hardly claim to be the guardians of disbelief. Excess and disbelief have thus become the most commonplace cultural topos. In our current culture, I contend, the excessive voices of the victims have, to some extent, exchanged their epistemological, ontological, and ethical revolutionary function for an aesthetic one. They operate according to the pleasure principle in order to bring us, the consumers of Holocaust images, the most expected image of the “unimaginable,” which therefore generates a melancholic pleasure and involves the narrative in melodramatic aesthetics. The article concludes by briefly suggesting some guidelines for an alternative approach to the study of contemporary Jewish Holocaust sources.     

Can Histories Be True? Narrativism,Positivism, and the “MetaphoricalTurn”

Narrativism, as represented by Hayden White and Frank Ankersmit, can fruitfully be analyzed as an inversion of two brands of positivism. First, narrativist epistemology can be regarded as an inversion of empiricism. Its thesis that narratives function as metaphors which do not possess a cognitive content is built on an empiricist, "picture view" of knowledge. Moreover, all the non-cognitive aspects attributed as such are dependent on this picture theory of knowledge and a picture theory of representation. Most of the epistemological characteristics that White and Ankersmit attribute to historical narratives therefore share the problems of this picture theory.
The article's second thesis is that the theories of narrative explanation can also fruitfully be analyzed as inversions of positivist covering-law theory. Ankersmit's brand of narrativism is the most radical in this respect because it posits an opposition between narrative and causal modes of comprehension while simultaneously eliminating causality from narrativist historical understanding. White's brand of narrativism is more of a hybrid than is Ankersmit's as far as its theory of explanation is concerned; nevertheless, it can also be fruitfully interpreted as an inversion of covering-law theory, replacing it by an indefinite multitude of explanatory strategies.
Most of the striking characteristics of both White's and Ankersmit's narrativism pre-suppose positivism in these two senses, especially their claim that historical narratives have a metaphorical structure and therefore no truth-value. These claims are had to reconcile with the factual characteristics of debates by historians; this problem can be tracked down to the absence in "metaphorical” narrativism of a conceptual connection between historical narratives and historical research.     

历史观与意识形态:世界历史叙事中的现代化理论

作为世界历史叙事的一种范式,现代化理论不仅体现了一种历史观,也展示了其意识形态的特质。现代化理论的意识形态功能包括：解释功能、压制宣传功能、整合和激发功能以及合法化功能,这些功能使世界历史叙事充斥着偏见与“公允”、“真理”与权力、压制与整合等悖论。这种悖论在历史观层面,则凸显为现代化的“历史观”和历史观的“现代化”二者之间的张力。只有克服二者之间的张力,才能超越现代化的“历史观”的局限,才能使历史观的“现代化”成为一种世界历史叙事的实践理念。     

Mixed Messages: The Heterogeneity of Historical Discourse

If, as many historians and theorists now believe, narrative is the formproper to historical explanation, this raises the problem of the terms in which such narratives areto be evaluated. Without a clear account of evaluation, the status of historical knowledge (both initself and in all those social, political, and other contexts in which appeal to historical explanationis made) remains obscure. Beginning with the view, found in Hayden White and others, thathistorical narrative constitutes a meaning not reducible to the factual content it engages, thisessay argues that such meaning can arise only through a synthesis of cognitive and normativediscourses. Narrative combines "heterogeneous" language games in such a waythat neither appeal to "truth content" nor to "justice" suffices todecide the question of which of two competing historical explanations is, as a whole, superior.Examining in critical detail the opposed positions on this issue articulated by two recenttheorists—Frank Ankersmit ("narrative idealism") and David Carr("narrative realism")—the paper concludes that the debate between thosewho hold that historical narratives should be judged in essentially cognitive terms and those whohold that they should be judged in essentially political terms cannot be resolved and that aphilosophical view of historical narrative that is neither realist nor idealist needs to be developed.     

Writing imperial history in the age of high nationalism: imperial historians on the fringes of the Habsburg monarchy

For a long time, the late period of the Habsburg Monarchy has been characterized as a battlefield of nation-building elites who employed historical scholarship (among other means) to promote nationalistic ideas. More recent studies, however, have examined and called attention to the powerful structures which held this monarchy together. In the age of historicism, the Habsburg Monarchy also needed a plausible historical narrative on which it could base claims of the legitimacy of its rule. This narrative was created first and foremost by Viennese historians. Yet there were historians in the Habsburg Monarchy’s regional centres who made significant contributions to the development of concepts of an imperial history, too. In this article, the author examines their efforts. Until around 1900, supranationalism and regionalism were the dominant concepts in the historical writings of the authors in the Military Frontier and Bukovina and also in the works of the renowned Prague historian Anton Gindely. Loyal to Vienna, some Hungarian historians reassessed national history in order to reconcile it with the imperial past. Transnational history was also a method of demonstrating the congruity of national and imperial interests. In the age of high nationalism, historians thus contributed to both national and imperial cohesion.     

《中国移民史》唐宋湖南移民实例考校

《中国移民史》列有109个唐宋湖南移民实例,本文对其中在史料和史实方面存在诸多问题的65例进行了考校,并归纳了其中存在的主要问题:一是对史料的理解与引用有误。这主要表现为一人误作二人,甲卷引作乙卷,姓名张冠李戴,牵强列入或列之无据,将移民与移民后裔相混淆,以及有关移民迁移的时间和地点等方面的问题。二是没有考察史料的史源。这主要表现在:引用后人史料,没注意到前人文献中已有相同的、甚至更为可靠的史料,没有甄别第一手资料和二手资料;没有考察相关史料,对引用史料中所提供的一些有关移民信息的线索没有追根溯源、旁征侧证。