In times of a felt need to justify the value of the humanities, the need to revisit and re-establish the public relevance of the discipline of history cannot come as a surprise. On the following pages I will argue that this need is unappeasable by scholarly proposals. The much desired revitalization of historical writing lies instead in reconciling ourselves with the dual meaning of the word history, in exploring the necessary interconnection between history understood as the course of events and (...) as historical writing. Despite the general tendency of the last decades to forbid philosophizing about history in the former sense (at least in departments of history and philosophy), I think that to a certain extent we already do so without succumbing to substantive thought. We already have the sprouts of a speculative although only quasi-substantive philosophy of history that nevertheless takes seriously the postwar criticism of the substantive enterprise. In this essay I will first try to outline this quasi-substantive philosophy of history that attests to the historical sensibility of our times; and second, I will try to outline its consequences regarding history as historical writing. Finally, in place of a conclusion I will suggest that historical writing is not as much a contribution to public agendas as it is the very arena in which public life is at stake. (shrink)

Ian Hunter's career as an intellectual historian has been grounded in a commitment to regionalism and the refinement of a methodology devoted to conceiving thought in terms of various modes of comportment. This essay suggests that Hunter's recent work on ?The History of Theory? downplays the first principle in its development of the second, and consequently risks abandoning the commitment to historical pluralism that has been a distinguishing feature of his singular contribution to intellectual history.

This paper identifies the difficulties in confronting novel history from both a rigorous scientific and artistic literary perspectives and suggests a practical reconciliation—in the form of a discussion and metaphorical opening space—between the two apparent poles of historical understanding and their accompanying genres, types, and tropes.

How can humanist principles of respect, dignity, and care inform and improve design for non-human lifeforms? This paper uses ageing and dying urban trees to understand how architectural, urban, and landscape design respond to nonhuman concerns. It draws on research in plant sciences, environmental history, ethics, environmental management, and urban design to ask: how can more-than-human ethics improve multispecies cohabitation in urban forests? The paper hypothesises that concepts of dignity and respect can underline the capabilities of nonhuman lifeforms and lead (...) to improved designs for multispecies cohabitation. To investigate the implications of this ethical framework, we 1) indicate injustices of current management in relation to natural and cultural histories of trees; 2) outline a conceptual framework that includes large old trees as stakeholders in urban communities; and 3) use this framework in a thought experiment with urban trees in Melbourne, outlining comparative design outcomes. Our findings show that the expansion of dignity to include nonhuman life is possible and plausible. Such an extension can justify and encourage design innovation for multiple species and sites. The resulting design practices will lead to improvements by supporting communities of trees at all stages of their life-cycles, including old age, death, and rebirth. This approach requires substantial shifts in accepted thinking and practices including history, ethics, aesthetics, regulation, and education. Design can play a significant role in the necessary transitions by demonstrating tangible and positive outcomes. In this context, history emerges as an essential tool that can extend societal imagination by situating possible future places in the context of ancient and ongoing geological, evolutionary, ecological, and cultural processes. (shrink)

In this article I try to answer the question posed by History and Theory’s “call for papers”; namely, “do historians as historians have an ethical responsibility, and if so to whom and to what?” To do this I draw mainly on three texts: Alain Badiou’s Ethics: An Essay on the Understanding of Evil, J. F. Lyotard’s The Differend, and Edward Said’s Representations of the Intellectual; Jacques Derrida and Richard Rorty have a presence too, albeit a largely absent one. Together, I (...) argue that these theorists enable me to draw a portrait of an ethically responsible intellectual. I then consider whether historians qua historians have some kind of ethical responsibility—to somebody or to something—over and above that of the intellectual qua intellectual; I reply negatively. And this negative reply has implications for historians. For if historians are to be intellectuals of the type I outline here, then they must end their present practices insofar as they do not fulfill the criteria for the type of ethical responsibility I have argued for. Consequently, to be “ethical” in the way suggested perhaps signals—as the subtitle of my paper suggests—the possible end of a history “of a certain kind” and, as the inevitable corollary, the end of a historian “of a certain kind” too. (shrink)

The conventional wisdom that influences university policy on what is considered valid sexual consent has undergone radical change over the past twenty years. Valid consent being the criteria that makes subsequent sexual behavior morally justified because the consent is morally transformative in the way that matters. Affirmative consent policies are now being used increasingly at universities across the country, as well as forming the basis for legislation in some U.S. states. University policies that define affirmative consent are varied, but policies (...) generally require the consent to be voluntary, conscious, unambiguous, and ongoing. The consent can be communicated verbally or behaviorally as long as it is clear and continues throughout the sexual encounter. I will argue against both the unambiguous and ongoing requirements of sexual consent. I contend that we should reject the affirmative model of sexual consent because of the problems with these requirements and I then offer some reasons in favor of returning to a lack of dissent model of sexual consent. (shrink)

Kompensation is the keyword for an influential answer to the problem of the function of the human sciences in the contemporary world. It emerged in the second half of the twentieth-century in the field of German philosophy, and its chief message is that the human sciences have the task of compensating modern societies and individuals for cultural losses generated within the course of modernization (for instance, by the spread social relations of a new, abstract, non-traditional kind; or by the accelerating (...) progress of technology). The compensation-theory can be stressed as one of the main ideational sets against which Jörn Rüsen developed his own theory of history. This paper focuses on the agonistic relationship between these two theories that attempt to elucidate what is the value and the use of historical studies. My interpretative bet is that by doing so we will better understand important aspects of Rüsen’s theoretical reflections on history and historiography that have not yet received sufficient attention. I will show that Rüsen rejects the compensation-theory not only because he disagrees with the scientific division of labor it entails – which ascribes to the human sciences the relatively modest role of attempting to preserve some of what modernity needs to destroy. I will try to explain how that rejection is also due to more fundamental differences between Rüsen and the compensation-theorists, more specifically their differing understandings of modernity, and their dissent regarding how should the complex interrelationship between knowledge, politics, and the future be configured. -/- “Compensação” é a palavra-chave que sintetiza uma influente resposta ao problema da função das ciências humanas no mundo contemporâneo. Originária do universo da filosofia alemã da segunda metade do século 20, tal resposta sustenta, em linhas gerais, que as ciências humanas servem como uma espécie de indenização espiritual por prejuízos culturais causados pela modernização a sociedades e indivíduos (no bojo, por exemplo, da disseminação de novas relações sociais abstratas e não-tradicionais, ou do acelerado progresso dos meios técnicos). A teoria da compensação pode ser apontada como um dos principais conjuntos de ideias a que se contrapõe a teoria da história de Jörn Rüsen. O presente texto enfoca a relação agonística entre essas duas teorias, no centro das quais está o problema do valor e da utilidade dos estudos históricos. Lançar luz sobre tal relação – esta é a minha aposta interpretativa – é uma maneira de compreender melhor aspectos importantes das reflexões de Rüsen sobre história e historiografia que até agora ainda não receberam a atenção que lhes é devida. Quero mostrar que Rüsen rejeita a teoria da compensação não só porque discorda da divisão do trabalho científico nela apregoada, a qual atribui às ciências humanas o papel relativamente modesto de tentar conservar alguma parte daquilo que a modernização ameaça destruir. Procurarei explicar como tal rejeição também se deve a diferenças mais fundamentais existentes entre Rüsen e os teóricos da compensação, mais especificamente, às suas divergências de entendimento quanto à natureza da modernidade e quanto ao modo de configurar a complexa inter-relação entre conhecimento, política e futuro. (shrink)

Visual literacy has long been important as a way of reading images beyond mimetic illustration. It also allows the reader to tap into a logic of representation in order to create different representations and narratives. In this essay I argue that images provide crucial temporal complexity to the study of narrative, with particular resonances for narrative historiography. The complex temporality of the image, especially the graphic narrative or comic, points toward a historical time which may be neither linear nor causal. (...) Moreover, images demand interaction from the reader, but offer many avenues of interpretation, suggesting that the reader pay attention to their own constructions of meaning and practices of narrativizing. -/- La litéracie visuelle a longtemps été importante comme façon de lire les images hors de simple illustration mimétique. Elle permet aussi le lecteur d’entrer dans une logique de représentation pour créer des différentes représentations et des différentes narrations. Dans cet essai, je soutiens que les images fournissent une cruciale complexité temporale pour l’étude des narrations, avec valence particuliaire pour l’historiographie narrative. La temporalité complexe de l’image, surtout la narration graphique ou bande dessinée, indique une temporalité historique qui sera peut-être ni linéaire, ni causative. Par ailleurs, les images exigent l’intéraction du lecteur, et au même temps ils offrent plusieurs avenues d’interprétation, ce qui attire l’attention du lecteur à ses propres habitudes de lecture et à ses propres narrations construits. (shrink)

This article argues that Hayden White's vision of historiography can be appropriated for the “public use of history” in many ethnic and nationalist conflicts today. That is, it can be used to provide the theoretical arguments that justify the instrumentalization of historical memory by nationalist elites in their sometimes genocidal struggles with their opponents. Historians so far have not adequately understood the implications or possible uses of White's historiography, and therefore to that extent his case remains unrefuted. In the event, (...) White has anticipated and held his ground against possible counter-arguments. The only way to answer him is to ask the question that he poses of historians: what is the purpose of history for “life”? The essay argues that Max Weber's advice to scholars to pose difficult questions and demand clarity about the implications and consequences of specific commitments is morally more responsible than White's in the current climate of ethnic and national conflict. The historical is not opposed to the ethical, as White maintains; the historical is the ethical. Historians should engage in “strong evaluations” in the construction of “bridging” narratives between historical communities, rather than redemptive narratives of liberation that often entail zero-sum claims to contested land. (shrink)

Thesis (Ph. D.)--University of Hawaii at Manoa, 1990.

This essay argues against Rosalind Krauss’ assertion that the classic avant-gardes’ selfacclaimed originality was an ahistorical myth. Constructing at times anachronistic genealogies tying past movements and individual artists to the present, the avant-gardes, perhaps paradoxically, were one of the first in modern art and literature to historicize their own originality. By way of a survey of a number of such genealogies stemming from futurism, Dadaism, surrealism and constructivism, this essay unearths the presentist nature of the avant-gardes and suggests that the (...) many modes of representing history developed by the avant-gardes should be further scrutinized for their historiographical potential. (shrink)