The acquisition and display of material artefacts is the raison d’être of museums. But what constitutes a museum artefact? Contemporary medicine is increasingly producing artefacts that do not fit the traditional museological understanding of what constitutes a material, tangible artefact. Museums today are therefore caught in a paradox. On the one hand, medical science and technologies are having an increasing pervasive impact on the way contemporary life is lived and understood and is therefore a central part of the contemporary world. (...) On the other hand, the objects involved in medical diagnostics and therapies are becoming increasingly invisible and intangible and therefore seem to have no role to play as artefacts in a museum context. Consequently, museums are at risk of becoming alienated from an increasingly important part of contemporary society. This essay elaborates the paradox by employing Gumbrecht’s distinction between ‘presence’ and ‘meaning’.Keywords: Exhibitions; Material culture/materiality; Contemporary science; Technology and medicine; Presence effects; Public engagement with science; History of medical science. (shrink)

This paper argues that the sublime feeling can only announce itself as a paradoxical mixture of pain and pleasure in an experience of a lost or irrevocable past. Presenting the typical evanescence and inevitable deferral of the past in musical terms, this paper rewrites the sublime feeling as a musical feeling: a suspended feeling wavering in-between apparently opposite intensities of tension and respite. This suspended feeling is analyzed through a juxtaposition of the sublime with Sehnsucht, or the potentially endless longing (...) for an irretrievable past, and trauma, or the potentially endless rehearsal of an unforgettable past. (shrink)

This essay explores the ways that the specter of deconstruction has been haunting history over the past thirty years, in particular this specter's effects on the revision of intellectual and cultural history. The essay uses the terms "specter" and "haunting" to express the fact that while deconstruction is repeatedly targeted in attacks against the dangers of postmodernism, poststructuralism, or the linguistic turn, very few historians actively use deconstruction as a historical methodology; in this regard the target has always been a (...) phantom. However, some historians have employed the methods of deconstruction, and by examining their work as well as the attacks on it the essay attempts to explain the historiographical reasons behind these attacks. The goal of the essay is ultimately to indicate some of the ways that deconstruction is useful for the historian, as evidenced in the project of historical revision. (shrink)