‘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.     

The Idea of the Social Contract in the History of ‘Agreementism’

One of the recurrent motifs in political thought is the idea of the social contract, according to which a society, a government, or moral principles depend for their existence on agreements between voluntary agents. This association between the social contract and “agreementism” implies that there is nothing about the terminology of contracts that distinguishes it from that of other types of agreements constitutive of normativity. This essay tests this assumption by surveying the terminology of the social contract and by proposing two hypotheses. The first is that all attempts at analysing the idea of the social contract require a formal conceptual frame of reference that is distinguishable from agreementism. The second is that social contract theories can be grouped into four trends, even if the authors of each of these trends are unable to form a coherent body of doctrine. These trends are the Iberian Catholic version of the Counter-Reformation; the Protestant individualist trend of the Enlightenment; the quasi-dialectical trend of the radical Enlightenment; and the contemporary trend of public morality.     

Continuity or Discontinuity in the Recent History of the Australian Labor Party?

Recent characterisations of the Australian Labor Party as a ‘cartel party’ suggest that there was, after the 1970s, a fundamental discontinuity in Labor's history. We assess this contention not only in terms of the ALP's policies but also the mechanisms which link it with different classes and social groups: Labor's electoral support, membership and local branches, the backgrounds of the Party's parliamentarians and leaders, the role of trade unions inside the ALP, and its sources of funding. While there have been some quantitative changes in these characteristics, we conclude that Labor remains, on balance, a ‘capitalist workers party.’     

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.     

New regionalism in Turkey: questioning the ‘new’ and the ‘regional’

Turkey’s regional policies are inspired by the new regionalism theory. During past two decades, key concepts of new regionalism, including knowledge economies, specialization, networked cities and innovation, have been incorporated in policy documents. At the same time, Turkey comes from a strong central state tradition that controls local and regional development. At first insight, new regionalism and strong central state control do not fit in the same frame. This research analyses the trajectory of regional policies in Turkey with the aim of explaining how these seemingly incompatible policies can coexist. It argues that regional policies developed at the central state level utilized new regionalism as a part of the strategy to maintain power in the course of transformation of the nation state.     

Writing History,Making ‘Race’: Slave-Owners and Their Stories†

This article uses the database created by the Legacies of British Slave-ownership project (www.ucl.ac.uk/lbs) which documents the recipients of the twenty million pounds paid in compensation to the slave-owners at the time of abolition, as a starting point from which to explore some of the implications of the flow of human and financial capital to Australia in the 1830s and 1840s. Once the Caribbean was no longer a place to make a fortune, descendants of slave-owners chose this new colony of white settlement as the next frontier of empire. Colonial officials, sheep farmers and writers were amongst those who attempted to make a new life, carrying with them attitudes to racial difference which inflected their understanding of Aboriginal peoples.     

Can the Australian Greens Replace the Australian Democrats as a ‘Third Party’ in the Senate?

In this article I discuss the likelihood of the Australian Greens being able to develop into a party that plays an equivalent ‘third party’ role in the Senate similar to that played by the Australian Democrats for most of their existence. My conclusion, based on attitudes underlying voting behaviour, is that they cannot afford to behave contrary to their position as part of a left-wing bloc without jeopardising a substantial part of their voter base.     

Nationalism,Britishness and the ‘Souring’ of Australian National Art

This article investigates the nationalist historiography of the Heidelberg School, an Australian art movement from the Federation period, known for its iconic representations of national life and landscape. Drawing on recent scholarship of Australian nationalism, it questions conventional accounts of the Heidelberg School in Australian art history, especially those based on Bernard Smith’s radical interpretation of this movement. For Bernard Smith, and the generations of Australian art historians he influenced, the nationalism of the 1890s was a progressive force for national culture. Yet, in the post-Federation decades, national art declined (or ‘soured’) into a reactionary form of insular nationalism. By focusing on the ‘souring’ narrative of Australian national art, this article critiques the nationalist interpretation of the Heidelberg School. It explores an apparent contradiction: the role of Britishness in the construction of a distinctly Australian national art.     

‘History Has Begun a New Chapter’: US Political-Opinion Journals and the Outbreak of the Korean War

In the pages of the United States’ leading political-opinion journals, different ideological camps had very different answers to the issues raised by the outbreak of war in Korea in the summer of 1950. Left liberals placed a great deal of blame for the outbreak of war on South Korean President Syngman Rhee, while conservatives and hawkish liberals used the occasion to lambast President Truman and Secretary of State Acheson. Hawkish liberals welcomed the possibility of a global showdown with Communism, while conservatives disapproved of US intervention in Korea for reasons both political and constitutional. In sum, the debate that dominated the pages of US opinion journals in the first weeks and months of the Korean War was both heated and robust, and exposes the ideological fault lines of the early cold war. To wit, hawkish liberals held positions that anticipated the birth of neoconservatism some two decades later. And conservative voices utilised their newfound platforms in The Freeman and The American Mercury to attack the Truman administration on a whole host of foreign-policy issues, revealing in greater detail than has previously been shown the role that international affairs played in the birth of the New American Right.     

‘New Art History’ vs. ‘Old History’: writing art history

Abstract

The three strange poems in English which constitute the section ‘Foreign Language Verse’ in Cavafy's Unpublished Poems present problems of authorship, interpretation and preservation. Who wrote them? What are they about? Why did Cavafy, who destroyed so much, trouble to keep them? The purpose of the present note is to provide plausible, if not definitive, answers to these three questions. The poems under discussion are, ‘Leaving Therápia’, ‘Darkness and Shadows’ and the untitled poem that begins, ‘More happy thou, performing Member’.