Machiavelli’s Philosophical Anthropology

This article seeks to address a tension in contemporary scholarship regarding Machiavelli’s view of human nature. While it is common for readers to identify Machiavelli’s rejection of any foundational law that determines the structure of the world, it is just as common for them to abstract human nature from this world and thereby to posit a fixed human essence. Machiavelli is thus seen as an anti-essentialist when it comes to external nature and as an essentialist when it comes to internal human nature. I will attempt to demonstrate, however, that for Machiavelli these two interpretations are integrated into an overall ontology of being that rejects all forms of essentialist thinking, including all positive models of human nature. Machiavelli’s rejection of a fixed or positive human essence will be demonstrated by analyzing his account of the openness of human being to change and alteration by socialization, and his account of the multiplicity of forms of human doing and being. I argue that Machiavelli’s rejection of a fixed essence underlies his affirmation of a negative essence—the specifically human desire for value-formation and the perpetual recreation of the world and, by extension, of the self. An appreciation of this affirmation, furthermore, has important consequences for how we think about Machiavelli’s preferred form of republican institutionalization.     

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 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.     

Chaos,Complexity, and a Revitalization of Four-Field Anthropology?

Four-field anthropology has always struggled with the problem of how to holistically study human cultural systems that are the products of environment, process, and history. Complexity science offers a set of tools calibrated to the analysis of complex systems like those of human societies, and has the potential to allow us to scientifically understand how history and process affect the physical, cultural, and linguistic components that are entangled in the whole of human societies. Application of complexity science to anthropological problems thus far has favored engagement on a conceptual level rather than one that harnesses the full power of the approach.     

Preaching and History: The Audience of Ranulf Higden’s Ars componendi sermones and Polychronicon

In his Ars praedicandi sermones, in traditional yet rich metaphoric language, Ranulf Higden compares Christ to a fountain, a shepherd, a rock, a lily, a rose, a violet, an elephant, a unicorn, and a youthful bridegroom wooing his beloved spouse. Ranulf encourages preachers to use such metaphors while using them himself, rendering his text a performed example of what he encourages. This text is clearly linked to two others: Ranulf’s Latin universal history, the Polychronicon, and John Trevisa’s English translation of it. In the Polychronicon, Ranulf relates the life of Christ, utilizing some of his own rhetorical suggestions from his preaching manual. He also depicts a cross-section of good and bad preachers, including Gregory, Wulfstan, Eustas, St Edmund, and one William Long-Beard and his kinsman, who exemplify (in different ways) the wisdom conveyed in Ranulf’s instruction in the Ars praedicandi. This essay suggests that the literary relationship between the preaching manual and the Polychronicon supplies additional support for the idea that the audience of the latter was not noblemen exclusively, but also clergymen who preached and had responsibility for the care of souls (cura animae).     

Enfleshing Aesthetics: Theological Anthropology in M. Shawn Copeland’s Enfleshing Freedom and Mayra Rivera’s Poetics of the Flesh

To contend with the racist scaling of bodies seems to tend toward the ontological and metaphysical. Counter-strategies entail engagement with the predominant framework – i.e., with its categories of being and its grounds of analysis – however, much subjected to critique and deconstruction. Shawn Copeland and Mayra Rivera both identify and accept this “risk” in their theological projects. I argue that, although each does it with differing relative emphases, their political theologies trade upon an alternation between practical and poetical modes of critical reflection – the one is more negative and formal, the other is more positive and material; and this unitary alternation is what staves off failure in ideology and foundationalism. I furthermore suggest that the practical-poetical alternation I describe represents a contemporary politicization of the aesthetical.     

“Mixed up in a Bit of Do‐Goodery”: Judy Inglis,Activist Anthropology and Aboriginal History

As one of few people to study urban Aborigines in the early 1960s, Judy Inglis was well situated to comment on the workings of government policies such as assimilation. Her sudden death in 1962, aged thirty‐two, cut short her contribution to contemporary debates and froze in time her thinking. Inglis wanted her academic work to help the subjects of her study. Although she struggled with the idea of blending anthropology with activism, her desire to effect positive change ultimately outweighed other considerations. By her own account, she was “mixed up in a bit of do‐goodery”. In the decade after her death, the same impulse drove her friend Diane Barwick and mentor W. E. H. Stanner, both fellow anthropologists, to bring into being “Aboriginal History” as a field of study. This article explores the links between Judy Inglis’ approach to anthropology‐as‐activism and the origins of Aboriginal History.     

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.     

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.