Since 1989, social change in Europe has moved between two stories. The first being a politics of memory emphasizing the specificity of culture in national narratives, and the other extolling the virtues of the Enlightenment heritage of reason and humanity. While the Holocaust forms a central part of West European collective memory, national victimhood of former Communist countries tends to occlude the centrality of the Holocaust. Highlighting examples from the Estonian experience, this article asks whether attempts to find one single (...) European memory of trauma ignore the complexity of history and are thus potentially disrespectful to those who suffered under both Communism and National Socialism. Pluralism in the sense of Hannah Arendt and Isaiah Berlin is presented as a way in which to move beyond the settling of scores in the past and towards a respectful recognition and acknowledgement of historical difference. (shrink)

This study explores new philosophical foundations for democracy in revolutions. Alain Badiou’s thought is in focus, but this essay is not just an exegesis. The thought of Alain Badiou is appraised (and adapted) in this essay in the light of the main currents of European thought on the hopes and history of European revolutions. This essay dismisses Badiou’s ultra-gauche Maoism, focusing instead on Badiou’s ways to reconcile revolutionary change, social inclusion and human freedom. These ways are important. By overcoming hegemonic (...) traditions of study, Badiou’s methods promote democratic ethics of restraint. They also help re-invigorate methods in the social sciences privileging participant perspectives. (shrink)

Much of Arnold Hauser’s work on the social history of art and the philosophy of art history is informed by a concern for the cognitive dimension of art. The present paper offers a reconstruction of this aspect of Hauser’s project and identifies areas of overlap with the sociology of knowledge—where the latter is to be understood as both a separate discipline and a going intellectual concern. Following a discussion of Hauser’s personal and intellectual background, as well as of the shifting (...) political and academic setting of his work, the paper addresses one of Hauser’s central questions, viz. how best to square a thoroughgoing commitment to the social nature of art with the reality of successive artistic styles, given that the latter seem to be characterizable on purely formal grounds. This is followed by a discussion of Hauser’s conflicted views on the relation between art, science, and technology. This injects a tension into Hauser’s work, due to his initial reluctance to explain just how the aesthetic and the cognitive realms relate. The final part of the paper, through a closer examination of the analogies and disanalogies that Hauser sees between art history and the history of science, attempts to give a positive answer—“on Hauser’s behalf”, as it were—to the question of whether art may be credited with a specific cognitive dimension of its own, and if so, what its contribution to our cognitive enterprise may consist in. (shrink)

Much of Arnold Hauser’s work on the social history of art and the philosophy of art history is informed by a concern for the cognitive dimension of art. The present paper offers a reconstruction of this aspect of Hauser’s project and identifies areas of overlap with the sociology of knowledge—where the latter is to be understood as both a separate discipline and a going intellectual concern. Following a discussion of Hauser’s personal and intellectual background, as well as of the shifting (...) political and academic setting of his work, the paper addresses one of Hauser’s central questions, viz. how best to square a thoroughgoing commitment to the social nature of art with the reality of successive artistic styles, given that the latter seem to be characterizable on purely formal grounds. This is followed by a discussion of Hauser’s conflicted views on the relation between art, science, and technology. This injects a tension into Hauser’s work, due to his initial reluctance to explain just how the aesthetic and the cognitive realms relate. The final part of the paper, through a closer examination of the analogies and disanalogies that Hauser sees between art history and the history of science, attempts to give a positive answer—“on Hauser’s behalf”, as it were—to the question of whether art may be credited with a specific cognitive dimension of its own, and if so, what its contribution to our cognitive enterprise may consist in. (shrink)

Ideas will always resist single-statement definitions, but in a rough attempt at generalization one can say that they either play or are attributed a very special role in thinking and expressive processes, in perhaps all domains of human culture. People who specialize in creating, receiving, transforming, and disseminating them are usually called “intellectuals”—even if they do not monopolize those social practices. The constitution and circulation of ideas as structures of thinking and expression, the settings in which they originate and to (...) which they respond, the material supports in which they are conveyed as well as the intellectual agents specialized in dealing with them are studied by the history of ideas and its neighboring fields. These include intellectual history, history of concepts, histoire des mentalités, Geistesgeschichte, history of books, and even cultural history, sociology of knowledge, and the histories of science, philosophy, literature, and the humanities. As it is obvious, such labels do not support a clear-cut division of labor, nor can they be lined up in an organogram that would fix constant hierarchical relations between them. They show up with incommensurable frequency, displaying different connotations within different academic cultures. This explains why in some cases—as in Geistesgeschichte, Begriffsgeschichte, or histoire des mentalités—equivalent English terms are considered problematic or unnecessary. Having flourished, spread, and sometimes also decayed within different national, disciplinary, and generational contexts, the fields designated by them can only have intricate and overlapping limits. A good way to understand the traditions connected to the history of ideas is hence to look closely to their messy border zones. The closest and most intricate connections are those between “history of ideas” and “intellectual history,” which is reflected in the fact that these terms are often employed interchangeably—a use that will be noted also in the remainder of the present text. Even so, “intellectual history” clearly emerged as preferential designation in the English-speaking world in the final decades of the twentieth century. A reason for this is the spread of the suspicion that “ideas” are burdened by essentialist traits that would render us insensitive to historical discontinuity. The notion of ideas is also sometimes regarded as much too oblivious of the way language conditions thought, and accordingly some analysts suggest that it would be out of line with the best theoretical intelligence established since the so-called linguistic turn (see Kelley 2002a: 310–14). However, others claim that ideas should not be equaled to expressed words, as they refer to occurrences that are best described with psychological terms such as beliefs and attitudes, and, further, that there would be non-essentialist ways of addressing them . What seems more uncontroversial is that, in comparison to “history of ideas,” “intellectual history” opens up an enlarged space of ambivalence as regards the analytical focus, which can then toggle from intellectual products to intellectual producers, consumers, and the cultural frameworks in which they interact. There are also important crossroads between the history of ideas and conceptual history (or Begriffsgeschichte), as both terms signal to the historical study of basic structures of thought. Conceptual history, however, at least in its most well-known variety, which was very much inspired by social-historical approaches, tends to be less centered on biographical and psychological issues and to introduce concepts as more depersonalized linguistic entities. Such and other connections and disconnections between the various ways of attending to “the reflective communal life of human beings in the past” (Burrow) will be further discussed in the following from the perspective of a geographically multicentered historical synopsis. Hopefully, its many limitations will be compensated by the possibilty of bringing to the fore relations that otherwise would not become so salient. (shrink)

Québec’s model of cultural diversity, Interculturalism, has been the object of considerable debate since Bouchard and Taylor released in 2008 their now famous report, Building the Future: A Time for Reconciliation. Among other things, the authors recommended that schools take more seriously Québec’s Intercultural model as a means of bringing diverse cultures into a single society. In this dissertation I consider the uptake and implication of Intercultural ideals in Québec’s History and Citizenship education course. This study involved three secondary school (...) history teachers in Montreal Anglophone schools. Using Thacher’s “normative case study” as the methodological framework, I combine curriculum documents, classroom observations, open-ended interviews, and photo-voice methods to illuminate the Intercultural model’s shortcomings with regard to issues of power and identity. The guiding question for this dissertation is: how do the historicized power dynamics embedded within Québec’s Intercultural policy shape history education in Québec? Two sets of tensions are found to be at the crux of the issue of history teaching in Québec: first the theoretical debates on history education do not take Québec’s specific brand of cultural negotiation into account, resulting in a lack of research on the civic implications of history education particular to the Québec context. Second, the Intercultural model itself does not adequately deal with entrenched issues of power relating to marginalized identities, which raises many questions for how civic education is being carried out in the province. (shrink)

This paper considers the use of textual analysis of oral histories as a method for historians of nursing. Fifty‐three oral histories of retired nurses in midwestern USA were analyzed for the purpose of historical reconstruction of past education experiences in nursing. Textual analysis was used to determine how nurses made sense of their educational experiences, and it involved gathering data, analyzing the information, and using a different method of interpreting the data. Although the participants responded to specific questions, the oral (...) histories in this study are more than mere answers to the researchers’ queries. The participants’ memories are narratives that are the joint product of both the historian and the participant. As such, the oral history becomes a text to be stored along with other primary sources for future historians’ use. The research also suggests decentering oral histories from an exclusively academic agenda and focusing more on what the participants choose to remember and why they make those choices. (shrink)