THE HISTORY AND THEORY OF EMPIRES

Contemporary histories and theories of empire generally remain within boundaries inspired by varieties of liberalism, and by Marxian theory and its hybrids, in which changing modes of production determine the forms of power, including empire. Liberal theorists and historians of empire generally trace a complex process in which expanding imperial power systems led ultimately to nation‐states, democracy, and market economies. For Marxists and postmodern theorists, the formal aspects of empire remain unimportant compared to the broader workings of modes of production and particularly, the global power of capitalism. Michael Hardt and Antonio Negri use the word “empire” to describe the workings of contemporary capitalism and its myriad forms of power. Whether they rely upon the formal definitions of empire or the Marxian‐postmodern one, theories of empire often descend from modern utopian visions: perhaps the Kantian variety emphasizing a peaceful union of states and collective learning, or the Marxian one, although now taking into account changes in the mode of production and victims unattended to by Marx and Engels. New technologies and communications networks impress all contemporary theorists. Some proclaim the end of modern power systems and empire; others find empire in a new, postmodern form. Nonetheless, there are stubborn continuities with the modern in the very persistence of modern utopias, the dominance of nation‐states, the pursuit of democracy, and the durability of capitalism. Theorists of power and empire have to explain these and other continuities, alongside the disappearance of the more than 400‐year‐old balance‐of‐power system in which imperial powers in the European core finally delivered vast power to the United States and the Soviet Union, and created new technologies that strengthen human connection as well as threaten vast destruction. The question of the power of the United States and its imperial status commands the center of attention.     

INTO CLEANNESS LEAPING: THE VERTIGINOUS URGE TO COMMIT HISTORY

Surely one of the key issues in historiography is how to account for those mind-boggling and sometimes extremely bloody events in which we enter something really, sublimely new. In this essay my point of departure is that retrospectively it is almost impossible even for the historical actors themselves to get access to the contingent, irrational, "sacrilegious" aspect of the sublime event they brought about. In order to get a grip on the evanescent essence of the historical sublime, I propose to bring to a head, instead of leveling down, the tension that characterizes all historical and biographical discontinuities: the tension between the fact that discontinuities are made by the participants, yet are portrayed by these very participants as having come as a surprise. I will argue that discontinuity is not a regrettable side-effect of our ambition to attain goals that are in line with our identity, but that every now and then we give in to the urge to cut ourselves loose from our moorings. A key concept of the perspective that with sublime historical events "in the beginning is the deed" is vertigo. Vertigo may feel like a fear of falling, but really it is a wish to jump, covered by a fear of falling. Vertigo predisposes, as psychoanalysts say, to "counterphobic" behavior. Giving in to vertigo is a strategy for escaping from an unbearable tension by doing something—by breaking apart from what one used to cherish, by eating the apple, by committing an "original sin". Making history—in the sense of embarking upon something that is as sublimely new as the French Revolution or the First World War—thus is not a matter of pursuing some interest but of willfully fleeing forward into the unknown.     

THE OPEN LETTERS OF SERGEI BORISOV: FROM THE HISTORY OF PHOTOGRAPHY IN THE ALTAI

The present study focuses on the biography and artistic heritage of S.I. Borisov, one of Barnaul's most successful photographers of the early 20th century. Borisov's archive is kept at the Altai State Museum of Local Studies and includes materials from his photographical expeditions to the Altai in 1907–1914. The analysis of the photographs given here creates an image of this multiethnic region as it was at that time in all its diversity of culture and tradition.     

THE CRITICAL THEORY OF HISTORY: RETHINKING THE PHILOSOPHY OF HISTORY IN THE LIGHT OF KOSELLECK'S WORK

There are many ways to consider the philosophy of history. In this article, I claim that one of the most viable approaches to the philosophy of history today is that of critical theory of history, inspired by Reinhart Koselleck. Critical theory of history is based on what I call known history, history as it has been established and expounded by historians. What it contributes—its added value, so to speak—is a reflection on the categories employed to think about historical experience at its different levels, not only as a narrative but also as a series of events: their origins, contexts, terminology, functions (theoretical or practical), and, finally, eventual relevance.     

TO WRITE THE HISTORY OF EQUALITY

This article discusses the history of equality and recent efforts to write that history in the context of a detailed discussion of Siep Stuurman's The Invention of Humanity: Equality and Cultural Difference in World History. It begins by pointing out the surprising paucity of writing on the history of equality, particularly its conceptual and intellectual history, despite that notion's centrality in modern political and philosophical discussion. It proceeds to examine recent efforts to make amends for that lack. What Pierre Rosanvallon has described as the contemporary “crisis of equality” gives urgency to these efforts, while also, it is suggested, providing an opportunity to more fully explore the contingencies and complexities of this beguiling notion. Stuurman's examination of the invention and deployment of “cross‐cultural equality”—the basic equality of all people living in the world, regardless of gender, religion, ethnicity, or race—is an important step in this exploration. But as Samuel Moyn has emphasized in his own recent intervention on the history of social rights in an unequal world, it is not, on its own, enough. Future efforts to write the history of equality must integrate the social and economic dimensions of the idea more fully in an effort to better understand our contemporary dilemma.     

A TURNING POINT IN THEORY OF HISTORY: THE PLACE OF HAYDEN WHITE IN THE HISTORY OF METAHISTORY

This article intends to place Hayden White's reflection on the basic principles of meaning-construction in history into the historical context of modern historical studies. It first presents the self-understanding of professional historians in which they emphasize the academic (wissenschaftlichen) character of the discipline. In this way of reflection, the traditional (premodern) interpretation of history as a part of rhetoric was pushed back and replaced by methodological argumentation about the rules of research (with an emphasis on source critique). Historiography, or the presentation of the results of research in a narrative form, was not completely neglected, but was not widely recognized. After the analytical insight into the narrative form of historical knowledge, significant discussion of the principles of historical thinking dramatically changed from the issue of research to that of representation (historiography). Hayden White's Metahistory (1973) marked this change paradigmatically. It turned the shift from rhetoric to science in its contrary direction: a new turn to rhetoric was proclaimed. This new anti-turn set off a hitherto unanswered question as to how research methodology should be treated. Source critique was not refuted but did not attract significant attention. The research procedure of interpretation, in contrast, was met by a new understanding and interest: it was identified as representation by the linguistic procedures of meaning-construction. Its role as a part of historical method, however, was completely ignored. The article ends with a still unresolved problem of metahistory, namely the relationship between interpretation and representation. They are not identical, but are closely related. Their synthesis and their differences have to be systematically inquired into and reflected upon if metahistory is to step forward and engage in this task. Then the merits of White's return to rhetoric will be appreciated as well as its one-sidedness criticized, before a further step is taken.     

TO CATCH THE ECHO: RETHINKING ACTS OF WITNESSING TO THE SHOAH

In light of recent revelations about global ignorance and disbelief regarding the Holocaust, first‐hand testimonies acquire fresh significance. Two disparate books frame this discussion of how writings by survivors serve to deepen our understanding of the Shoah. Otto Dov Kulka's memoir, Landscapes of the Metropolis of Death, is a carefully crafted account by a professional historian who survived as a child in Auschwitz. Thomas Trezise's work, Witnessing Witnessing, is an analytical inquiry into the literary and epistemic issues that frame different genres of testimony ranging from video to poetry. Kulka's slender account is situated in the context of other works by survivors, including Saul Friedländer's When Memory Comes, Charlotte Delbo's Auschwitz and After, and a more recent work by Joseph Polak, After the Holocaust the Bells Still Ring. The emphasis in this discussion is upon the challenges that survivors face in articulating horror, especially to readers in the twenty‐first century. Trezise's more voluminous work is based upon the literary and philosophical theories of Adorno, Levinas, and Freud, among others. The question raised in this essay focuses upon which of these narrative strategies might work better to convey the complex meanings of the Shoah after the generation of survivors has departed from the historical scene. In the end, the halting words of those who went through the death camps is all we have to counter the ignorance and disbelief spreading around the world. Kulka's book, combining memories, dreams, and art works, fosters an imaginative encounter with inconceivable historical realities. Trezise's theoretical engagement with indexicality and with the phatic function of language helps us to understand the impact of testimonies within the scholarly literature. It does not, however, point a clear path toward conveying the importance of the Holocaust to the public at large. For this purpose, we need books such as Kulka's that enable the generation after the Holocaust to listen to silences embedded in survivor narratives. These silences must be carried forward in time, along with the ethical mandate not to forget the atrocities of the Shoah. If we can embrace this mission, we may be able to diminish the reign of hate running amuck today.     

THE CONCEPT OF TRANSPARENCY,ITS HISTORY,AND THE THEORY OF BEGRIFFSGESCHICHTE

In this review essay, I examine the theoretical assumptions required in order to reconstruct an understanding of another historical period. Stefanos Geroulanos has produced a masterful history of mid‐twentieth‐century French thought, and he argues for a significant difference between that period and our own based on the values and ideas associated with the concept of transparency. The book is innovative in both its method and interpretation of the period of 1945–1984. However, despite the suggestive theoretical framework announced at its start, Geroulanos prefers to explore the theoretical content of conceptual history more than to explain how one might go about identifying, understanding, and translating the concepts of a different epoch. In order to contribute to what is already a successful project, I endeavor to extend some of Geroulanos's theoretical sketches through a comparison with Reinhart Koselleck's theory of Begriffsgechichte. Despite some muted criticism of Koselleck from Geroulanos, I argue that the projects share similar commitments, although Geroulanos needs to develop his theoretical premises at greater length, both for a full comparison and in order to complete the critical project that Transparency appears to be undertaking.     

HISTORY TO THE MAX

Steven G. Smith advocates a maximal approach to history by both historians and theorists of history, maintaining that a commitment to fullness or totality should always serve as an ideal. In my review, I try to explain what the author means by this ideal, and consider how practical such an ideal can be. He further maintains that history is mostly about shared action, and is itself an instance of shared action. I have certain reservations about this notion, though I think Smith's book deserves credit for calling attention to it.     

RUSSIAN MINERS BOW TO THE ANGEL OF HISTORY

This paper follows the struggles of Russian coal miners who first challenged the Soviet regime in 1989 and helped precipitate its downfall in 1991. In the Arctic city of Vorkuta, the movement's most militant and radical center, the dreams of workers have again, as in 1917, become bonds of their affliction. In response to invading market forces, the city strike committee has turned from support of the new regime to renewed opposition, the independent trade union movement increasingly throws its weight behind the once reviled mine management, and the mines themselves have rallied around the conglomerate, long a symbol of arbitrary power.     

EXPERIENCE AND HISTORY: THE REACH AND LIMITS OF PHENOMENOLOGICAL APPROACHES TO HISTORY

Experience and History: Phenomenological Perspectives on the Historical World presents the summa of David Carr's phenomenological approach to history. I acknowledge the value of this perspective, but I find it doubtful that a phenomenological account can replace the paradigms of memory and representation against which Carr pits it. The concept of historicity is, rather, complementary in that it alerts us to the prethematic presence of history. Phenomenologically, Carr's attempt to tie history closely to experience runs into problems as it is based on a questionable use of Husserl's notion of retention and risks blurring the distinct temporality of history. At the same time, the central concepts of Carr's approach, both experience and narrative, could be deployed in further ways. As literary scholars have come to emphasize, narrative triggers experiences in its readers. Thus, even if it is impossible to recreate the experiences of historical protagonists, narrative lends itself to giving readers a sense of the experiential dimension of the past. In this sense, narrative is not only a medium of representation, but also a means of presence.     

RECONCEIVING THE PRACTICE OF HISTORY: FROM REPRESENTATION TO TRANSLATION

Arguing that history is not the application of a rigorous method to sources bequeathed to us from the past but rather a practice of coding that constructs “the past” in particular ways, this article seeks to delineate the key elements of this coding. Modern history treats past objects and texts as the objectified remains of humans who endowed their world with meaning and purpose while constrained by the social circumstances characterizing their times. This time of theirs is dead, and it can only be represented, not resurrected; the past is only ever the human past, and it does not include ghosts, gods, spirits, or nature. If, as argued here, “the past” does not exist independently of the means by which it is known and represented, then the many different modes of historicity that human beings developed and deployed before the modern form of history became dominant cannot be measured against “the” past in an effort to compare their accuracy or adequacy in representing it. The concluding section of this article asks what we are doing when we write the history of those who did not share the presumptions of the modern discipline but who had their own mode(s) of historicity. What, it asks, is the character and status of the knowledge produced when we write histories of premodern and non-Western pasts?     

THE “THEORETICAL REVOLUTION” IN INTELLECTUAL HISTORY: FROM THE HISTORY OF POLITICAL IDEAS TO THE HISTORY OF POLITICAL LANGUAGES

This article intends to clarify what distinguishes the so‐called new “politico‐intellectual history” from the old “history of political ideas.” What differentiates the two has not been fully perceived even by some of the authors who initiated this transformation. One fundamental reason for this is that the transformation has not been a consistent process deriving from one single source, but is rather the result of converging developments emanating from three different sources (the Cambridge School, the German school of conceptual history or Begriffsgeschichte, and French politico‐conceptual history). This article proposes that the development of a new theoretical horizon that effectively leads us beyond the frameworks of the old history of political ideas demands that we overcome the insularity of these traditions and combine their respective contributions. The result of this combination is an approach to politico‐intellectual history that is not completely coincident with any of the three schools. What I will call a history of political languages entails a specific perspective on the temporality of discourses; this involves a view of why the meaning of concepts changes over time, and is the source of the contingency that stains political languages.     

MYTH IN HISTORY,PHILOSOPHY OF HISTORY AS MYTH: ON THE AMBIVALENCE OF HANS BLUMENBERG'S INTERPRETATION OF ERNST CASSIRER'S THEORY OF MYTH

This essay explores the different interpretations proposed by Ernst Cassirer and Hans Blumenberg of the relation between Platonic philosophy and myth as a means of bringing to light a fundamental divergence in their respective conceptions of what precisely myth is. It attempts to show that their conceptions of myth are closely related to their respective assumptions concerning the historical significance of myth and regarding the sense of history more generally. Their divergent conceptions of myth and of history, I argue, are at the same time not simply matters of abstract speculation, but spring from fundamental presuppositions concerning myth's political significance. The present elucidation aims not only to set in relief one or another of the ways in which Cassirer or Blumenberg understood myth, nor even to present Blumenberg's critical reception of Cassirer's theories, but above all to contribute to the interpretation of the political implications of myth and of its historical potency in our contemporary epoch.     

USES OF GAME THEORY TO EXPLAIN THE SALT PROCESS

Negotiations in international relations must be analyzed not only in terms of the substance of policy which is of relevance to the negotiating process, but also with regard to the negotiating process itself. This paper focuses on the negotiating process leading up to the SALT I agreements of 1972. Through the insights of game theory we can better understand the difficulties inherent in reaching accords in nuclear arms negotiations.     

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.