THE VIRTUE OF A HISTORIAN: A DIALOGUE BETWEEN HERMAN PAUL AND CHINESE THEORISTS OF HISTORY

This article reflects on the role of scholarly virtues in the Chinese theory of history and compares it with the recent approach proposed by Herman Paul. The first three parts reconstruct what might be called a “Chinese virtue epistemology of history,” starting from Confucian views on sincerity in writing history and then turns to concepts of an “unbiased mind” and the “responsibility of a historian.” The latter ideas were developed by Zhang Xuecheng (1738–1801), who introduced the concept of “the virtue of a historian (shide),” treating it as a sympathetic understanding toward the narrated characters. Interpretations of shide changed along with modern Chinese theorists of history, some of whom elaborated on it in the positivist manner. Thereafter, the article outlines Paul's view on the function of epistemic virtues in the formation of “historical persona.” In the summary, I will draw upon the main similarities and differences between Paul's position and the traditional Chinese view in order to point out the main directions for further research on this topic.     

Conflicting obituaries: the Abyssinian ‘outlaw’ Debeb as treacherous bandit and romantic hero in late nineteenth-century Italian imagination

In 1886 the Abyssinian chief Debeb became a public figure in Italy as a rapacious colonial bandit. However, over the next five years he acquired additional public personas, even contradictory ones: as a condottiero ally, a ladies' man, a traitor, a young Abyssinian aristocrat and pretender to an ancient throne, a chivalrous warrior, and a figure representing the frontier and an Africa mysterious and hidden to Europeans. Upon his 1891 death in combat, he was the subject of conflicting Italian press obituaries. For some commentators, Debeb exemplified treacherous and deceitful African character, an explanation for Italy's colonial disappointments and defeats. However, other commentators clothed him in a romanticised mystique and found in him martial and even chivalrous traits to admire and emulate. To this extent his persona blurred the line demarcating the African ‘other’. Although he first appeared to Italians as a bandit, the notion of the bandit as a folk hero (the ‘noble robber’ or ‘social bandit’, Hobsbawm) does not fit his case. A more fruitful approach is to consider his multi-faceted public persona as reflecting the ongoing Italian debate over ‘national character’ (Patriarca). In the figure of Debeb, public debates over colonialism and ‘national character’ merged, with each contributing to the other.     

Displacing Barthes: Self,Other and the Anxiety of Theory

This article explores the relationship between the other and the writing self in three of Barthes's works and shows how the anxious and changeable state of the ‘je’ unsettles conceptions of ‘theory’ and its analytical object. Barthes attempts to conceptualise cultural otherness in Mythologies, L'Empire des signes and Incidents, and, on one level, his fantasies of encounter serve to displace or unground the writing ‘self’. On another level, however, the theorist's persona in these works turns out to be disorientated and unnerved by these displacements, and he couples his jubilant self-dissolution with a longing for a sense of origin or ground. Barthes as a result remains undecided about his positioning within his own discourse, and his works demonstrate the necessary interpenetration of theories of alterity with the contradictory subjective and affective desires of the writing self. The aim of the piece is ultimately to argue that, for its very flaws and inconsistencies, Barthes's writing about otherness may help us to understand the challenges and deficiencies of postcolonial conceptions of cultural difference.     

Renovatio imperii Romanorum: quando Crescentius decollatus suspensus fuit. An analysis of the meaning of Otto III’s first lead bulla

The legend Renovatio imperii Romanorum, which appears on the lead bulla adopted by Otto III in April 998, was emblematic in defining the persona of this emperor. Since the nineteenth century, the text has been identified with the communication to the empire of a programme of reform. However, the notion that this legend had a programmatic value is not substantiated by the literary, archival or linguistic sources. In no document did Otto announce an intention for imperial reform and nor did he show any interest in planning – and the meaning of the words therefore needs reconsideration. The historical context of the appearance of the seal in April 998 merits wider discussion. In this study, contemporary sources, not least the bullae themselves, are reviewed, leading to a redefinition of the original celebratory function of the bulla’s legend.     

THE HISTORIAN AS A PUBLIC MORALIST: ON THE ROMAN ORIGINS OF A SCHOLARLY PERSONA

In her recent book, Virtus Romana, Catalina Balmaceda provides a fascinating analysis of the concept of virtus in Roman historiography. Although virtus, which translates as courage or more generally as virtue, meant different things to different Roman historians, Balmaceda shows that disagreement was never about whether historians should provide readers with examples of virtue. Historians' differences of opinion focused rather on where such models were to be found and what they should look like. This review essay summarizes Balmaceda's main arguments, raises a question about historians' own virtus, and draws some implications from the book for the study of scholarly personae. Did the persona of the historian as a public moralist, such as is known from nineteenth‐century Europe, originate in ancient Rome?     

¿Hacia una literatura de compromiso? Cohesión social desde el individuo en La muerte de Kurt Cobain de Care Santos

Socially committed writing in contemporary Spanish narrative scene sometimes eliminates the possibilities of depicting individual realities. Care Santos's novel La muerte de Kurt Cobain (1997) develops the case of a unique young girl who goes through a life-changing experience during a summer when she has to overcome personal issues in order to form her persona. The novel is half crime-fiction since there is a mystery to solve and half bildungsroman due to the formation of the personality of the female lead character. Coming of age by becoming a human being, a friend, a sister, and a woman is the main focus of this text, which rejects generalizations regarding youth as a reckless period of life and embraces adulthood as a natural process of growth. Young Spanish girls represented in Santos's work are portrayed through the protagonist who contributes to build a human and cohesive society that stems from the level of commitment of the individual.     

Iskandar's Bibulous Business: Wine,Drunkenness and the Calls to the Sāqī in Nizāmī Ganjavī's Sharaf-nāma

The twelfth-century poet Nizāmī Ganjavī has produced his version of the adventures of Alexander as a unique composition mingling known Persian historiography and Qur'anic legends with unusual non-Islamic, especially Greek, elements in order to create his Iskandar-nāma (containing two parts, the Sharaf-nāma and the Iqbāl-nāma) as a synthesis of eastern and western cultures. A first point is the examination of the reasons behind the importance given to wine and drunkenness within the narrative. The poet has stressed this further by heading each chapter with a call to the sāqī. The essay examines the appositeness of the invocations with the episodes in the narrative, it analyses examples of wine imagery (containing references to medicine, to the mirror and to religion) and questions the relation between authorial persona, narrator and characters, examining in particular the famous teetotaler claim in one of the introductory chapters of the first part of the Iskandar-nāma.     

‘Each fantasy chosen begin’: the music of The Divine Comedy

This article considers the cultural and social context for the music of the Northern Irish band The Divine Comedy. It focuses on three mid-1990s albums – Liberation (1993), Promenade (1994) and Casanova (1996) – and debates the significance of this performance of alternative Ulster masculinity during the peace process. It will detail the lyrical obsession with a very particular type of imagined Anglo-Irishness during the first two of these albums, and then consider the complicated uses of the ‘Britpop’ genre in Casanova. This music is baroque, literary and written by an Anglican bishop's son, Neil Hannon, who grew up in Enniskillen during the Troubles. It will consider how Hannon cobbles together an acceptable identity through the use of literary pretentiousness and a carefully crafted pop persona.     

The ages of man. A study in medieval writing and thought

It has often been repeated that Wollstonecraft was not read for a century after her death in 1797 due to the negative impact of her husband William Godwin's Memoirs of the Author of a Vindication of the Rights of Woman (1798) on her posthumous reputation. By providing the first full-scale reception history of Wollstonecraft in continental Europe in the long nineteenth century—drawing on rare book research, translations of understudied primary sources, and Wollstonecraft scholarship from the nineteenth century to the present—this article applies a revised Rezeptionsgeschichte approach to tracing her intellectual influence on the woman question and organised feminism in Europe. Although the Memoirs and post-revolutionary politics everywhere dampened and even drove underground the reception of her persona and ideas in the first decades of the nineteenth century, Wollstonecraft's reception in nineteenth-century continental Europe, like the United States, was more positive and sustained in comparison to the public backlash she faced as a ‘fallen woman’ in her homeland of Britain through the bulk of the Victorian era.     

‘Feeling the rhythm of the waves: “castaway rhetoric” in John Eugenikos’ Logos eucharisterios’

Abstract

In September 1438 John Eugenikos decided to quit the council of Ferrara and sail back to Constantinople. Off Italy's Adriatic coast his vessel experienced a terrible shipwreck, whereby many of John's fellow-passengers perished. John decided then to retell his almost deadly experience in a thanks-giving logos, allegedly compiled on the basis of notes written down soon after the shipwreck. The logos stands out as a unique document in the landscape of Byzantine travel literature. This paper offers the first comprehensive literary analysis of Eugenikos’ account, shedding new light on the narrative patterns chosen by the author to recount his own experience and stage his public persona.     

The Realised Eschatology and Sweet Style of Jacob Bauthumley

In The Light and Dark Sides of God (1650), the Ranter Jacob Bauthumley presents his version of a realised eschatology in a generous style. His eschatology centres on God as the animating force in humanity. Bauthumley believes in sin but denies its true being. For him, most people live in the hell of their self‐being without recognising the divine being within them. At the end of the world, personal existence will end as God will return to being all in all within himself. In a style matching his theology, Bauthumley presents a self‐effacing persona, openly defines his theology, judges no person, and prefers a vocabulary of sweetness and joy to the harsher language so common in the theological discourse of his times.     

Writing on the edge: the poet,the printer,and the colonial frontier in Ercilla’s La Araucana (1569–1590)

It took Alonso de Ercilla (1533–1594) thirty years to finish La Araucana, a first-person narrative epic poem about the brutal war of Arauco, in southern Chile, and one of the most canonical texts of colonial Latin America. By focusing on a crucial episode of Ercilla's eyewitness account, this essay revisits a number of scholarly discussions that have been central for our understanding of the text. First, it takes into consideration previous scholarship overlooked by specialists, as well as hitherto unstudied copies of the poem, in order to offer a thorough reevaluation of the textual and editorial history of the poem. Moreover, it explores the frontier as a chronotope and as a locus of enunciation for colonial epic, a space that is also crucial for Ercilla's carefully crafted authorial persona. Finally, it interrogates the ways in which the discursive representations of colonial frontier spaces were mediated by the material practices of early modern book production, arguing for a more fruitful relation between ecdotics and poetics, between material bibliography and theories of authorship and textuality in our approaches to colonial texts.     

Structural Features of the Stone-Built T'ing-Pagoda

This article examines representations of Music Master Kuang in early Chinese historical and philosophical texts. Music Master Kuang was entirely blind, at a time when people with disabilities suffered serious discrimination. However, in spite of his handicap, he was able not merely to become a fine musician, but also served as a key advisor to two rulers of Jin, Lord Dao (r. 573–558 BCE) and his son, Lord Ping (r. 557–532 BCE), and in some texts is said to have acted as their prime minister. In achieving this transition, he is unique among Music Masters of the period. This article classifies the stories told about him into two main thematic groups, as a musician and as a statesman, to show the way in which music was related to statecraft through the persona of an individual who was both a highly respected government minister and a noted performer on the qin.     

Ida Vera Simonton's Imperial Masquerades: Intersections of Gender,Race and African Expertise in Progressive‐Era America

Ida Vera Simonton, a New York socialite, visited the French colony of Gabon in 1906 and 1907. Her subsequent narratives about her stay demonstrate a very ambiguous view of the horrors of European colonialism that she claimed to despise and the amoral nature of Africans. Simonton ultimately employed her stay in Gabon to claim a right to form female self‐defence squads in New York and to act as an independent defender of white women. By carefully shaping her public persona to alternately appropriate discourses of masculine regeneration through empire and to highlight her female vulnerability, she made herself into a provocative spectacle. In an ironic twist, given how much Simonton embellished on her own experiences, Broadway producers in 1925 plagiarised her 1912 novel Hell's Playground in their successful play White Cargo. Simonton successfully sued for damages, thus upholding her highly edited version of her trip in law. Her writings expose the intersections of racial anxieties, gendered visions of empire and feminist aspirations in the United States during the Progressive era.     

Muchacho que vas militando: Stardom,Youth Culture,and Politics in Palito Ortega Films (1970–1975)

Scholars of Argentine cinema have engaged extensively with the oppositional politics of the Nuevo Cine of the 1960s and ’70s, but much less with the cinema of that time that offered support to more conservative politics. In the interest of better understanding such support in mass culture, this essay contextualises the films made between 1970 and 1975 that star the pop idol Ramón “Palito” Ortega and examines how his star persona – which had been constructed through television, songs, magazines, and films – evolves through the first half of the decade, asking how this evolution is significant in the period’s turbulent context. In the films, Ortega functions as an avatar for a conservative bourgeois morality by delegitimising practices associated with, first, modern youth culture, then, after 1973, specific politically left practices, while exalting traditional practices that support social hierarchies compatible with the Peronist conservative orthodoxy. The essay finds that this process of politicisation runs from nostalgic nationalist reaction against modern internationalising youth culture to, with the legalisation and return to power of Peronism, examples of matter-of-fact anti-Communism and veiled anti-Semitism in affinity with the conspiracy theories propagated by the Far Right that took power in the pre-dictatorship period.     

Alfred Rosenberg. Nazi theoriest of the holocaust

The centuries-long evolution of the iconography of Niccolò Machiavelli is itself a chapter in the history of Machiavelli’s reputation. As intuited by one of his foremost biographers, Oreste Tommasini, portraits of the Florentine are probably best considered as visual expressions of philosophical and literary anti-Machiavellism, which exercised, in their own way, a negative influence on the reception and interpretations of his writings. The Machiavelli who we have seen represented over the course of history in paintings, prints, and engravings may be nothing more, therefore, than a Machiavellian persona: the visual translation of a conventional and stereotypical interpretation, which considers the author of The Prince to be the champion of a politics based on duplicity, cunning, deceit, and guile. This essay examines the origins and dissemination over the centuries of ‘La Testina’, one of the most celebrated and widely publicized portraits of Machiavelli. The conclusion, after comparing all of the extant variants of this portrait, is that it is an unfaithful and invented graphic representation of Machiavelli, whose fortunes in publishing and in the collective imagination have kept pace with the spread of a demonizing interpretation of Machiavelli, the master of evil, well-rooted even today in mass popular culture.     

‘The Most Churlish of Celebrities’: George Eliot,John Cross and the Question of High Status

Published in 1885, John Cross's biography of his late wife, George Eliot's Life as Related in Her Letters and Journals, was written with the intention to ‘make known the woman as well as the author’ (John Cross, ed., George Eliot's Life as Related in Her Letters and Journals, cabinet edn, 3 vols (Edinburgh: William Blackwood & Sons, 1887), I, v). Yet, ironically, the biography is renowned precisely for the lack of insight it affords readers into the private life of George Eliot. Why did Cross make a promise that he could not keep? My essay attempts to answer this question by examining George Eliot's Life in the context of the fame culture of the late nineteenth century. I suggest that it is possible to read Cross's unwillingness in the Life to make Eliot more ‘available’ to her public as a reaction against the sorts of publicity which, throughout the 1870s, had pushed Eliot's persona into a celebrity arena. George Eliot's Life represents Cross's effort to preserve Eliot's high professional reputation by emphasizing her distance from celebrity culture and her status as a female sage. Through close examination of the reviews of the biography, I identify the contemporary attitudes that made stressing Eliot's greatness appear urgent to her biographer and, paradoxically, so unpopular with the general public. I call attention, in particular, to changing expectations about the relationship between public figures and their audiences as well as the purpose and content of famous Lives. ?1.?Leon Edel, ed., The Diary of Alice James (Harmondsworth, Middlesex: Penguin Books, 1982), pp. 40–41.      

Rethinking music geography through the mainstream: a geographical analysis of Frank Sinatra,music and travel

This paper brings a new perspective to music geography by focusing on how a particular mainstream musician helped to construct, subvert, and circulate meanings associated with travel. It asserts that Frank Sinatra, via his music and actions, engaged with travel in ways that frequently ran counter to how it has commonly been enacted in American music and popular culture. Particular attention is paid to the singer’s travel-themed album, Come Fly With Me. By the time of its release in 1958, Sinatra, via a public persona that encompassed performer, ‘playboy’ and businessman, was a central figure in promoting an alignment of leisured mobility with postwar economic success. The paper interrogates how Sinatra’s celebrity allowed him to embody travel in certain real and imagined ways. It also examines what the resulting representations revealed about performances of gender, ethnicity, and status, and the expected modes of behavior that were associated with them, in America’s postwar consumer-driven society.     

3. CARL SCHMITT'S CONTRIBUTION TO A THEORY OF POLITICAL MYTH

My goal in this essay is to show that myths have played a larger role than we might think in politics and in political theory and that myths are essential to politics. For this purpose I will use Schmitt's theory of myth, since he elaborated his theory with strong interpretations of two different myths: Hobbes's Leviathan and Shakespeare's Hamlet. I will compare Schmitt's interpretations of Hamlet with my own, as doing so will provide a critical view of Schmitt's conclusions, and it will enable me to develop my own conception of myth and its relations to political theory and history.